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THE 


PHOTOGRAPH MANDAL; 

A PRACTICAL TREATISE, 

CONTAINING TUB 

CABTES DE VISITE PBOOESS, 

AND THE METHOO OF TAKING 


STEREOSCOPIC PICTURES, 


INCLUDING THE ALBUMEN PROCESS, TIIE DRY COLLODION 
PROCESS,'THE TANNIN PROCESS, THE VARIOUS 
ALKALINE TONING BATHS, ETC., ETC. 


TO AVHICn IS ADDED 

AN APPENDIX, 

CONTAINING ALL THE RECENT IMPROVEMENTS IN TIIE ART. 


By N. G. BURGESS, 

PRACTICAL PHOTOGRAPHER, AND MANUFACTURER OF CHEMICALS 
FOR THE ART. 


NEW YORK: 

D. APPLETON & CO., 443 AND 445 BROADWAY. 

LONDON: 16 LITTLE BRITAIN. 

1805. 


*> > * 


4-Tf? 

8 & 


Entered according to Act of Congress, in the year 18G2, 

By NATHAN G. BUEGESS, 

In the Clerk’s Office of the District Court of the United States for the 
Southern District of New York. 


In Exchange 
TJniYt oi Wisconsin, 

DEC 2 3 1240 


O. A. ALVORD, STEREOTYPER AND PRINTER. 


*> # 


*> 


s 

%\ 


PREFACE 


TO THE TWELFTH EDITION. 


Seven years ago this work was first published 
as a Manual, devoted then mainly to the Ambro- 
type process. 

Since that day the art has progressed, and 
whilst all the additions and improvements in 
Photography have been added to it, the book has 
rapidly increased in favor and demand. 

The various kinds of pictures which the untiring 
genius of our artists has produced, have been 
added to this work, until now We find the art 
demanding homage from that higher art from 
which Raphael or Michael Angelo drew their in¬ 
spirations. 

Step by step has the progress been upward, 
and we witness at the present day those beautiful 
creations known as the Cartes de Visite and Vig¬ 
nette portraits. 

The author, desirous of keeping pace with this 
progress, has deemed it expedient to retain all that 
was in the former editions, and to add an Appendix, 
wherein will be found all the recent improvements, 



4 


PREFACE. 


This edition will contain all that is known of 
any practical value in portraiture. 

Among those most practical and useful there 
will be found the whole Albumen process, as con¬ 
nected with the production of the Cartes dc Visite 
and Stereoscopic pictures. Also the Dry Collo¬ 
dion process, <fec., &c. 

The most popular productions of the day are 
the Vignette Portraits. These are deemed the 
perfection of the Photographic Art, and it be¬ 
hooves the ambitious artist to perfect himself in 
this branch as soon as practicable. 

The Stereoscopic pictures have become a perma¬ 
nent feature in Photography. They are now 
considered as one of the most beautiful and won¬ 
derful productions of this fascinating art. 

The Cartes de Visite and-Vignettes, which were 
a consequence of the Stereoscope, are soon des¬ 
tined to rival the far-famed Daguerreotype, which 
indeed they most resemble. 

Arranged in Photographic Albums, they grace 
the parlors of all who profess to keep pace with 
the fashions of the hour, and they have almost 
become the text-book of our personal friends, as 
indeed they are when well tilled with beautiful 
specimens of the art. 


PREFACE. 


5 


It is tlie design of this work to embrace within 
its pages all the known processes of the most suc¬ 
cessful operators in the United States; and only 
such as in practice have been found useful will he 
adopted. 

The steady growth of the art from the first faint 
image of the Daguerreotype, evolved by its im¬ 
mortal discoverer, has been gradual, step by step, 
as the art advanced, until we see now the product 
of the photographer’s skill in almost endless va¬ 
riety. The Daguerreotype, first and longest in the 
field, followed by the Photograph, so-called, on 
paper, then the Ambrotype, the Stereoscope, and 
last, but not least in importance, if in proportion, 
the Cartes de Visite , which are destined to keep 
their place in public favor for many years. 

The aim will be to give only such known recipes 
as have been in actual practice by the author and 
others, and to explain them in the plainest and 
most explicit manner possible, in order that the 
least practised operator may reap benefit from the 
perusal of the work, as well as those of more ma¬ 
ture experience. 

The practice of the art of taking Photographs on 
paper has been attended with very diverse results 
in the United States, owing in a great degree to 


6 


PREFACE. 


the fact that most persons who have embarked in 
it have heretofore been Daguerreian artists. They 
imagined that it only required the necessary skill 
and experience of a Daguerreian artist to ren¬ 
der them good Photographers. But this has been 
soon found to be a fallacy. There are many who 
are skilful in the process known as the Daguerreo¬ 
type, who can produce specimens of that art which 
would do credit to the profession, who nevertheless 
utterly fail in this higher branch of Photography. 
The reason is obvious. They have vainly imagined 
that only the same care was necessary in the paper 
process that was demanded in the manipulation of 
the silver plate. But how soon have their hopes 
of success been blasted! Where the ordinary care 
bestowed upon a Daguerreotype would produce 
satisfactory results, the same care upon a Photo¬ 
graph on paper would produce a worthless picture. 
Hence we see the necessity of looking into a higher 
range of art for the perfection of this branch. 
And as we approach near the goal of perfection 
in this sublime art, so much the more does it de¬ 
mand of its votaries greater sacrifices on the altar 
of patience and perseverance, more nearly resem¬ 
bling the long and weary road of the successful 
painter, who rises in his profession through rnanv 


PREFACE. 


7 


years of patient toil, with his pencil and his pallet, 
to the highest eminence. 

And the day may not be far distant when only 
those who have been for many long and weary 
years followers of the Photographic Art, shall be¬ 
come masters of their profession. 

It is well, therefore, to fully comprehend the 
greatness of the task one assumes who embarks in 
this profession. And to become a perfect master 
of it, will require all the known resources of his 
perseverance. Therefore such aids as may be 
found in the experience of others, will be given 
here, and it is trusted may be found of essential 
service to those who may purchase the work and 
follow the art as a profession. 

To the amateurs this work will no doubt be ac 
ceptable as a practical treatise, leading them into 
the more intricate fields of practice not found in 
scientific works on kindred subjects. 

Fortunately for this beautiful art, the number of 
amateurs is increasing in the United States, and we 
trust they may continue to augment until the num¬ 
ber shall equal those of England and other Euro¬ 
pean countries. For like all beautiful arts, the 
tempting field of pleasurable labor here opened, is 
beckoning onwards a host of fellow-laborers, which 


8 


PREFACE. 


will render the task of ultimate success of very 
easy accomplishment; and it is trusted they will 
emulate those artists in England who have so will¬ 
ingly opened their stores of knowledge to the pho¬ 
tographic world, so that all may reap the benefit 
of their valued experience. 


CONTENTS. 


PAGE 

Preface....... 3 

Introduction . g 


CHAPTER I. 

History and Progress of the Photographic Art—Its Introduction 
into the United States—The Discovery or Uses of the various 
Chemicals. 21 


CHAPTER II. 

Theory of the Photographic Process—Negative and Positive Pic¬ 
tures—Negatives on Paper and on Glass—Positives on Glass— 
Theory of the Positive and the Negative Process. 30 


NEGATIVE PROCESS. 

CHAPTER I. 

On the Practice of the Negative Process through all its details— 
The Manipulations—Cleaning the Plate—Coating with Collodion 
—Drying the same—Time in the Camera—Developing—Re-devel¬ 
oping for Intensity—Varnishing the Negative—Frames or Shelves 
for Negatives—General Remarks on the Manipulation of the 
Negative Process—Arrangement of the Light—Use of the Ca¬ 
mera, <fcc., &c. . 39 









10 


CONTENTS. 


X 

CHAPTER II. 

The Nitrate of Silver Bath for Negatives—Preparation of the same— 
Formation of the Iodide of Silver for the Nitrate Bath—On the 
practice of the Negative Bath—Observations on the use of the 
Negative Bath—On the Intensity of the Negative—Color of the 
Negative, &c., &c... . .. 48 


CHAPTER III. 

On Photographic Printing—Salting Solutions—Salting the Paper— 
Silvering the Paper with Ammonia Nitrate of Silver—Plain Silver 
Solution—To prepare the Albumen for Paper Positives—Silvering 
Albumen Paper—On the practice of printing Negatives—Toning 
or fixing the Print—Washing the Positive Prints—Drying the 
Pictures—Varnishing and Mounting the Prints.56 

CHAPTER IV. 

To copy Daguerreotypes and other Pictures into Photographs—O d 
E nlarging Pictures—To enlarge Pictures from Daguerreotypes, 
Ambrotypes, or Photographs ; and to produce Photographs from 
them—To make Life-size Photographs on Paper—Iron Photo¬ 
graphs, or Instantaneous Printing—On taking Stereoscope Pic¬ 
tures, Photographic Views,.&c., &c. 69 

CHAPTER V. 

On the Preparation of Negative Collodions—The Formulae for Neg¬ 
ative Collodions—Mixing various Collodions—Dissolving the Io¬ 
dides—Double Iodide Collodions—The celebrated German Pro¬ 
cess complete—The Negative Developing Solutions—Re-develop¬ 
ing Process—Bichloride of Mercury as a Re-developer—Fixing 
Solution—The Toning Baths—The Ammonia Nitrate of Silver 
Solution. 81 


CHAPTER VI. 

Details of the various Recipes in the Photographic Process—Quick 
Method of Silvering and Printing Paper—Best Method of Salting 
Paper—Test for good Collodion or Gun-Cotton—Varnish for Posi¬ 
tives on Paper—Instantaneous Printing Process—New Method of 





CONTENTS. 


11 


varnishing Positives—To restore Prints that have changed color— 
Cleaning Glass Plates—To varnish Negatives—Dextrine Paste for 
mounting Photographs—Gum-Arabic and Gelatine—To restore 
Silver from Old Solutions—To remove Water from Collodion, and 
to purify it—Test of Hyposulphite of Silver in Positive Prints— 
Printing various Backgrounds. 97 

CHAPTER VII. 

Hints and Suggestions in regard to the Negative Process—Imper¬ 
fections peculiar to Negatives—How to avoid them—Cautions in 
taking Negatives—Hints and Suggestions in regard to printing 
Positives on Paper—Cautions in regard to them—Imperfections 
found in Positives—How to avoid them. Ill 


AMBROTYPE PROCESS. 

CHAPTER VIII. 

The Camera—Plate-holders necessary for the Camera—Preparing 
the Glasses—Plate-blocks for holding the Glasses—Cleaning Sub¬ 
stances—Cleaning the Glasses—Cleaning old Glasses—Removing 
the Varnish—Holding Glasses after they are cleaned—Glasses 
used a number of times—Quality of Glasses necessary for Am- 
brotypes. 125 


CHAPTER IX. 

Apparatus for Ambrotypes—Chemicals used—Substances for finish¬ 
ing the Picture—Preparation of the Nitrate Bath—To Iodize the 
Bath—Filtering Process—Adding Acid—Neutralizing the Bath— 
Full Directions for keeping the Bath in order—Renewal of the 
Nitrate of Silver. 131 


CHAPTER X. 

The Developing Solutions—Manner of Compounding them—Various 
Formulae for Developing Solutions—Test of Acetic Acid—The 
Fixing Solutions—Cyanide of Potassium—Hyposulphite of Soda 
—Adding Chloride of Silver. 141 








12 


CONTENTS. 


CHAPTER XI. 

The Manufacture of Gun-Cotton—Test of the Acids employed— 
Washing and Drying the Gun-Cotton—Preparation of the Collo¬ 
dion—Its Nature and Properties—Ether and Alcohol—To Iodba 
Collodion for Ambrotypes—Method of preserving Collodion, an;* 
keeping it ready for use—Tests of good Collodion—To remove 
the color from Collodion.... M'S 

chapter XII. 

Alcoholic Solutions for preparing Collodion—Iodide of Silver Solu¬ 
tion—Bromide of Silver Solution—Bromo-Iodide of Silver Solu¬ 
tion—Saturated Solution of Iodide of Potassium in Alcohol—Of 
Bromide of Potassium—To make Hydro-bromic Acid....... 153 

CHAPTER XIII. 

Cautions with regard to using the various Chemical Substances in 
making Gun-Cotton—Use of Ether and Alcohol—Use of Cyanide 
of Potassium—Nitrate of Silver—Cleaning the Hands—Solution 
for oleaning the Hands—Hints on the various processes connected 
with Positives and Negatives—To render Collodion highly Sensi¬ 
tive...163 


CARTES DE YISITE PROCESS. 

CHAPTER XIY. 

The Discovery of the Stereoscope—The Original Discoverer—The 
Principle of the Stereoscope—The Philosophy of the Stereoscope 
—Utility of the Stereoscope—Conditions necessary for the Pi*g 
duction of the Stereoscopic Picture—They cannot be Taken from 
Paintings or Drawings, but from Statuary and all Natural Ob¬ 
jects. 17b 







CONTENTS. 


13 


CHAPTER XV. 

Apparatus necessary for the Practice of Taking Stereoscopes— 
Those necessary for Groups—For Views, &c.—Stereoscopic Cam¬ 
era-boxes—Backgrounds for Stereoscopic Groups—Curtains, &c. 
—Printing Stereoscopic Pictures—The Toning and Fixing Baths 
—Washing the Prints, &c., &c.181 

CHAPTER XVI. 

On the Preparation of the Chemicals for the Stereoscopic Negatives 
—Formulae for Collodion—Dry Collodion—Various Formulae— 
Preparation of the Preservative Solution—Its use—The new 
Tannin Process—Hints and suggestions. 187 

CHAPTER XVII. 

Description of the Cartes de Visite—On the Practice of the Cartes 
de Visite—Cameras employed in the Cartes de Visite—Collodion 
for the Negatives—On Taking the Negatives—Redeveloping with 
Pyrogallic Acid—Bichloride of Mercury—The Fixing Bath for 
Negatives—To neutralize the Nitrate Bath, &c.205 

CHAPTER XVIII. 

On the Preparation of Albumen Paper—Silvering the Albumen Pa¬ 
per—Printing the Albumen Paper—Cartes de Visite—Printing 
the Vignette Cartes de Visite—The Ammonia Nitrate of Silver 
Solution for Albumen Prints—The Fuming Process. 213 

CHAPTER XIX. 

Toning Albumen Prints—The Alkaline Toning Baths, viz., Acetate 
of Soda Bath—Chloride of Lime Bath—Phosphate of Soda Bath 
—Chloride of Soda Bath—On the Practice of the Toning Baths— 
Nitrate of Uranium Bath—Hints on the Alkaline Toning Bath- 
On Chloride of Gold—Imperfections in Toning Albumen Prints— 
Hints on Toning—Printing Frames—Mounting Cartes de Visite 


—Coloring Cartes de Visite. 227 

Weights and Measures . 245 

Index . 279 









14 


CONTENTS. 


APPENDIX. 


Introduction . 349 

CHAPTER I. 

On the negative bath—The use of two baths—Their preparation 
and management—The necessity of filtering—Streaks or lines 
on the plate—The evaporation of the alcohol and ether—The 
removal of organic matter—The reconstruction of a bath which 
is found unfit for use—On toning albumen prints—On vignettes, 
and body vignettes. 351 


CHAPTER II. 

On the developing process—On weak and strong developers—A 
saturated solution of protosulphate of iron—The amount of 
acetic acid—The durability of developers—The formulae—Plain 
protosulphate of iron—Sulphate of iron and ammonia—Proto¬ 
sulphate of iron and sugar—On the redeveloping or intensifying 
process—The intensifies—Pyrogallic acid and silver—Gallic 
acid and silver, bichloride of mercury, protosulphate of iron and 
silver—Sulphate of potash—Bichloride of mercury and iodide 
of potash.. 263 


CHAPTER III. 

On collodion—The formulae referred to in this work—Suggestions 
on collodion—Preparation of plain collodion—Old collodion, 
how restored and made new—To settle collodion—On saving 
the waste of silver—The various kinds of waste—To reduce the 
chloride of silver to nitrate of silver—To extract the silver from 
the hypo-bath and make it into nitrate of silver. 271 






INTRODUCTION. 


CAETES DE VISITE 

AND 

STEREOSCOPE PICTURES. 

The Photographic Art is constantly undergoing 
changes. The progress is still onward, and we now 
find the Stereoscope gracing the drawing-rooms 
of all those who appreciate the art. The Cartes 
de Visite are now the next in the order of prog¬ 
ress. They have achieved a name in the world 
of Photography which will retain its hold for 
many years. We have therefore devoted all the 
space to them which their importance demands. 

The optical instrument known as the Stereo¬ 
scope, has for a length of time arrested the atten¬ 
tion of the scientific world, not only from the well- 
known phenomena which it exhibits, but from its 
actual merits as a work of Art. 

There has probably never been an invention so 
universally entertaining and instructive, which 
could be procured so cheaply as the Stereoscope. 



16 


INTEODUCTION. 


It is calculated not only to amuse and instruct the 
little child, but also “ children of larger growth” 
can be and are amused and instructed, by its 
never-tiring changes of slides, containing views 
of country, hill, mountain and dale; the frowning 
precipice, the surging waterfall, and the domestic 
group. They are not paintings, they are not 
drawings, they are not sketches ; they are really 
nothing less than a reproduction of the reality, the 
sensible object prefigured before the eye. Instead 
of flat surfaces, as in ordinary pictures, the Ste¬ 
reoscope becomes in reality what its name imports, 
a solid, tangible substance. 

The eye never tires with seeing, the mind never 
is w r eary with viewing, these varied scenes of 
beauty and interest, and the imagination is led 
on, step by step, to people all the creations of 
this wonderful art, with life itself, so vivid are 
the representations. 

It is no longer necessary for one to leave his 
quiet home and “ brave the dangers of the deep,” 
in order to visit the shrines where the tourist most 
desires to wander, but, seated by his own fireside, 
he can recall to his wondering gaze all the start¬ 
ling realities of life in the most renowned cities 
of the world ; the various picturesque ruins, the 


INTRODUCTION. 


17 


placid lakes, tlie romantic cascades, tlie snow¬ 
capped mountains, the modem cathedral, and the 
relics of the ancient world in the stupendous tem¬ 
ples of Egypt. Or he may wander through the 
classic scenes of Italy or Greece, and press his 
feet on the sacred ground where the Saviour of 
the world once trod. Or, in fancy, he may revel 
amongst the domestic scenes of real life. He 
may call up vividly before his eyes the scenes of 
the poet’s imaginings, and people with life itself, 
all the dramatic scenes of the greatest of Eng¬ 
land’s bards. The creations of a sculptor’s hand 
can be presented to him with a distinctness un¬ 
known by any other art. In truth, none but real 
and positive substances are seen in the Stereo¬ 
scope. 

This art has achieved such great success in the 
few short years since it has been known, that the 
whole world is now invaded to bring the tro¬ 
phies of its skill, and lay them at the feet of 
those who desire them. Ho part of the world 
is now unrepresented in the Stereoscope. 

Stereoscopic views have been made more ex¬ 
tensively, and are more generally found to be the 
most in demand ; yet groups of various kinds 
are being now produced in great numbers, which 


18 


INTRODUCTION. 


are considered as curious, if not so valuable, as 
views. 

The public demand is steadily increasing for 
these kinds of pictures, and many years will not 
elapse before a perfect Stereoscopic picture will 
be considered as indispensable as the works of the 
great masters. No drawing-room or parlor will 
be considered complete without a Stereoscope, 
accompanied with views from the various portions 
of the world, as well as groups of domestic scenes, 
&c., &c. 

Not only is the realm of nature brought with 
vivid distinctness to the eye, in the Stereoscope, 
but contributions from the sciences are brought 
under its potent charms. 

All the sciences are calling in the aid of this 
great discovery, and we soon shall have a view of 
all the heavenly bodies, in the Stereoscope. The 
moon has been made to wheel in its orbit and 
stand transfixed in the magic view of the Stereo¬ 
scopic slide. 

Fruits and flowers, and all the embellishments 
which nature has thrown around the world, have 
contributed their share of glory to this great 
achievement. 

All things visible as well as invisible to the 


INTRODUCTION. 


19 


naked eye, are brought into tlie magic box, and 
objects only seen by the microscope are now 
viewed stereoscopically—if we may be permitted 
to coin a new word. 

Following closely in the train of the Photo 
graphic progress, the new style of the Cartes de 
Yisite, or Card Portraits, have become a name 
in the realm of the Art. And we witness the 
spectacle of a vast multitude of these beautiful 
creations adorning the galleries of our distin¬ 
guished artists. The Cartes de Yisite were a con¬ 
sequence of the Stereoscope, not an original con¬ 
ception. They nevertheless show an advance of 
the arts’ progress. They are in reality Stereo¬ 
scopes, only not viewed in pairs—for every card- 
picture can be so arranged as to produce the ste¬ 
reoscopic effect, as most of them are taken with 
two sets of lenses. 

Their utility has become a fixed fact, from the 
great demand which is now made upon the artists 
for their production ; and the public are only sat¬ 
isfied with them in great numbers. They can be 
multiplied so cheaply, and withal they are so port¬ 
able, they will no doubt for a long time be in de¬ 
mand. 






■ 

- • * ■ 

• • 


PHOTOGRAPHY. 


CHAPTER I. 

HISTORY AND PROGRESS OF THE PHOTOGRAPHIC ART 

-ITS INTRODUCTION INTO THE UNITED STATES- 

THE DISCOVERY OR USES OF THE VARIOUS CHEMI¬ 
CALS-POSITIVE PHOTOGRAPHS ON GLASS. 

The history and progress of an art so peculiarly 
distinct from all other arts, demands from its vo¬ 
taries a certain knowledge of its early stages, its 
introduction to the world, and its authors who 
brought it into being. 

The names of many of those who have been in¬ 
strumental in perfecting it, are fast passing away, 
and it seems befitting that, if only as a tribute of 
respect to their memories, some mention at least 
should be made of their noble achievements in this 
field of science—especially their long and weari¬ 
some researches and labors in perfecting this won¬ 
derful work. 

To M. Daguerre, of France, whose name is so 



22 


PROGRESS OF PHOTOGRAPHY. 


identified with the Photographic Art, from the fact 
of its being associated with all those impressions on 
the metallic plate, is the world not only indebted 
for the first sublime idea, but also the first success¬ 
ful result. Although Mr. Fox Talbot, of England, 
who was prosecuting experiments at the same time 
with Daguerre, claims priority of discovery, yet 
the world would have slumbered in ignorance had 
not M. Daguerre so clearly demonstrated that 
light falling upon a certain substance known by 
chemists as iodide of silver, would impress thereon 
whatever image was presented for its magic work, 
and reproduce its own image with all the fidelity 
of an artist’s skill. 

The details of M. Daguerre’s process, as given 
to the world in June, 1839, were, of course, very 
imperfect; yet the principle was thereby estab¬ 
lished, and has been so successfully carried out 
by his successors, that he is fully entitled to the 
credit, and deservedly stands pre-eminent in the 
ranks as the original discoverer or inventor of this 
beautiful art. 

All the photographic processes since made 
known and practised, owe their origin, if not di¬ 
rectly, at least indirectly, to the fact of his original 

discovery- 


PROGRESS OF PHOTOGRAPHY. 


23 


Pictures on paper, glass, &c., are in fact only 
modifications of his great achievement. They in¬ 
volve a change in the nature of the mere materials 
used, and do not in any degree affect the original 
fact that light must be brought to act upon the 
substance known as iodide of silver to produce the 
required result. 

The researches of Wedgewood and Sir Hum¬ 
phrey Davy, in 1802, are familiar to most scien¬ 
tific readers. These individuals were cognizant of 
the fact that light acting upon certain salts of 
silver affected its color. They engaged in these 
experiments in order to fix the image in the camera 
obscura at that early day; yet owing to the imper¬ 
fect state of chemical science, and the fact that 
iodine itself was not discovered at that time, they 
finally abandoned it, and left the field for such in¬ 
dustrious and worthy investigators as Daguerre 
and Niepce, who successfully prosecuted their re¬ 
searches, beginning in 1814, and finally announ¬ 
cing their successful result in June, 1839. 

The world was astounded to be told that the 
seeming evanescent image that had flitted so beau¬ 
tifully before the vision of a dreamer’s mind in the 
camera obscura for so many long years, had been 
caught and impressed indelibly upon a tangible 


24 


PROGRESS OF PHOTOGRAPHY. 


substance; that the long wished-for aspirations of 
an artist’s soul had been realized; that now it was 
possible to transform the living pictures which 
Portia, two hundred years before, had exhibited 
to the gazing world as wonders of his genius; that 
they could all be imperishably impressed, and be 
made to retain their beauty for ages. 

Philosophers in science prosecuted their re¬ 
searches, and finally made additional discoveries. 
We find Sir John Herschel as among the foremost 
in the ranks. Hunt, Archer, and Mr. Fox Talbot 
himself, made great progress soon after it was an¬ 
nounced that Daguerre had finally perfected his 
discovery. 

Mr. Talbot, however, was unwilling the world 
itself should profit by his discovery, and he forth¬ 
with commissioned agents to all parts of the world 
to secure patents wherever they could be obtained. 
With what success he met in their sale may be 
known from the fact that no one now claims any 
interest whatever in them. 

Mr. Talbot has seen proper of late to withdraw 
all claims to a patent by his process, and for the 
reason, no doubt, that it has been so immeasurably 
superseded by new and more useful improvements. 

A patent for any portion of this process is almost 


rox talbot’s patent. 


25 


conceded to be a misnomer. Certain it is that one 
always militates against the successful practice of 
it; and had M. Daguerre claimed one all over the 
world, his name -would not have attained its present 
fame. 

Mr. Talbot has been very justly censured in 
England for his long persistency in the claims to 
his patent. Many litigations were the conse¬ 
quences of it, in all of which Mr. Talbot was not 
declared the victor, but he always brought upon 
himself the deserved censure of the photographers 
in Europe. 

M. Daguerre himself, very reluctantly, however, 
yielded to the wishes of some of his friends, and 
secured a patent in England, by taking advantage 
of a peculiarity in the patent laws of that country, 
yet it has been said he often regretted it. 

Wherever any patent has been secured for any 
peculiar detail of the Photographic Art, it has 
always tended to bring discredit on its projectors, 
and render them odious in the eyes of the frater¬ 
nity, as grasping and over-reaching in their endea¬ 
vors to gain a few dollars and cents out of this 
beautiful process, which seems to belong to a higher 
race of discoveries than most others, partaking 

almost of the things spiritual. 

8 


Daguerre’s pension. 


France awarded M. Daguerre a pension for life, 
as well as one to M. Niepce, junior, the father, 
who was the original co-laborer with Daguerre, 
having died in 1833. This pension was small, yet 
it evinced a noble and generous spirit in the 
French government, and an example that is wor¬ 
thy of emulation in other countries. 

The process on silver plates soon made rapid 
strides towards perfection, and in a few years we 
find the art capable of producing specimens of 
great beauty. The discovery of the use of chloride 
of iodine, and bromine, and finally the gilding pro¬ 
cess of Mr. Fizeau, resulted successfully in com¬ 
pleting the whole process so perfectly, that few, if 
any, material improvements have been made since. 

This led others to investigate and essay experi¬ 
ments on various substances instead of the silver 
plate, that being an expensive article; and, more¬ 
over, as the daguerreotype could only be seen with 
distinctness in a certain position, or angle of light, 
while paper offered such unequal surfaces, a natu¬ 
ral desire was expressed to find some other sub¬ 
stance to remedy these defects. This first led Sir 
John Herschel to adopt glass as the readiest means 
of obviating the difficulties. This was in the year 
1844, and he obtained his results by precipitating 


herschel’s process. 


27 


iodine and bromine, and chloride of silver upon 
glass. With this he produced some good nega¬ 
tives, which could be converted into excellent 
positives. 

Herschel describes his process as follows: “The 
glass plate so prepared receives in the camera a 
distinct negative image, wdiich appears either in a 
natural position, or reversed, as you look at it in 
front or behind. If a solution of hyposulphite of 
soda is spread cautiously over the surface, and the 
latter is afterwards rinsed with water, the picture 
vanishes, but as soon as the plate is dry, it comes 
again to light, when it looks similar in appearance 
to a daguerreotype, more especially if it is placed 
on a dark ground, or blackened over the lamp, 
whereby, indeed, the negative is made positive.” 

Here, then, we have the first germ of a positive 
picture on glass. Herschel himself was searching 
after a negative picture whereby to produce a 
positive on paper, nor did it occur to him to pro 
duce a positive on glass. Had he done so, then 
the far-famed Ambrotypes, or positive photographs 
on glass, would have been of an earlier creation 
than those of 1850 in England. 

We see here the actual beginning of this art as 
far back as 1844. 


28 


DISCOVERY OF JDN-COTTON. 


The next improvement was made by Hiepce de 
St. Victor, of France, in 1848, which consisted in 
the use of albumen (the white of an egg), contain¬ 
ing iodine and a small portion of water. This was 
used for coating glass plates, and was practised 
with good success. It was found to possess only a 
small degree of sensitiveness. Yet it has been 
since used for taking views, having a further com¬ 
bination of bromine, with excellent results. M. Le 
Grey, of Paris, was the first to suggest the use of 
waxed paper. This process, with albumen, gives 
highly satisfactory pictures, and is only excelled 
by the use of collodion. It was in 1850 that tha' 
substance first was known as the great desideratum 
of the Photographic Art, and from its discovery 
and foundation has been laid a superstructure 
which commands so much admiration in the scien¬ 
tific world. 

Had not Professor Sclionbein, of Basle, Switzer¬ 
land, in 1846, made that curious, and at that time 
almost useless, discovery of gun-cotton, we should 
have groped our way in darkness in search of a 
substance that would render all our labors so sure 
of success. 

The use of gun-cotton as an explosive material 
instead of gunpowder, was by some predicted 


FIRST USE OF COLLODION. 


29 


when its discovery was first made known ; but it 
was soon found to be useless as an explosive agent, 
when happily a new element of its nature was de¬ 
veloped in the fact of its solubility in ether or 
alcohol. This produced the substance known as 
collodion, from a Greek word signifying u to stick.” 
Its similarity to albumen soon caused it to be used 
instead of that substance, when lo! a servant was 
obtained for the photographic artist at once so use¬ 
ful and willing that he has ever since, and prob¬ 
ably ever will, be subject to his rule. 

Collodion was first used in 1850, several claim¬ 
ing the origin of the discovery. Amongst the 
number may be mentioned Messrs. Archer, Fry, 
and Diamond, of London, together with Le Grey, 
of Paris, and De La Motte. The latter asserts 
that M. Simon, an apothecary of Berlin, suggested 
its properties to him in the spring of 1850. 

3 * 




CHAPTER II. 

THEORY OF THE PHOTOGRAPHIC PROCESS—NEGATIVE 
AND POSITIVE PICTURES—NEGATIVES ON PAPER 

AND ON GLASS-POSITIVES ON GLASS-THEORY OF 

THE POSITIVE AND THE NEGATIVE PROCESS. 

The photographic process is one of the latest 
arts introduced to the world which partakes, in 
some degree, of the arts of design, and from its 
nature is really superior, in point of attractive fea¬ 
tures, to many of the lesser arts. It seems to de¬ 
mand a more elevated range of thought and taste 
than others, being to a great degree allied to the 
arts of painting and sculpture. Though in a meas¬ 
ure mechanical, yet it possesses many peculiarities 
which demand from its votaries more than the 
limited judgment and skill necessary to the per¬ 
fection of ordinary arts. 

The theory of the process is said mainly to con¬ 
sist in that certain action to which light is subject 
of causing its own image or reflection to be ren- 


NEGATIVES AND POSITIVES. 31 

dered apparent by that self-same reflection on sub 
stances capable of receiving the impression. 

The term Photography, or painting by light , is 
sufficiently definite for our purpose, and all we 
know about the actual theory is, that when certain 
conditions are observed with regard to light, an 
impression may be obtained. But what is the 
real or definite action which takes place upon the 
surface of the iodized plate, no man has been per¬ 
mitted to know. 

Photographs are known either as Negatives or 
Positives. They are positive in the Daguerreotype 
and Ambrotype, and negative only in the glass 
pictures or paper pictures, from which positives 
are to be taken on paper, and on other similar 
substances. These terms should be well understood 
by the operator who seeks success, as they form 
the basis of all photography. 

All pictures taken by the collodion process pos¬ 
sess either of the foregoing conditions. 

Negatives were first taken on paper, from wdiicli 
positives were produced by the process known as 
the Calotype, discovered and patented by Mr. Fox 
Talbot, of England. From the multiplicity of its 
imperfections, it did not succeed, and no photo¬ 
graphs were appreciated by a discerning public 


32 THEORY OF NEGATIVES AND POSITIVES. 

until those negatives taken on glass were produced 
and positives exhibited from them which were 
creditable as works of art. 

Negatives possess all the various phenomena in 
their production that are possessed by positives. 
They are in some respects more difficult to be ob¬ 
tained in great perfection, and in others are less so 
from their peculiar properties. They are, in fact, 
only matrixes from which other pictures can be 
obtained. Therefore they are not perfect pictures 
of themselves, but only parts of a whole. 

The manipulation connected with the negative 
process is given in this work, with a view to im¬ 
part all the information with regard to the posi¬ 
tive process known in the Art. 

The theory of the positive and negative processes 
is the same, which consists in the reduction of the 
silver to an oxide on the surface of the glass by 
the action of light, and the subsequent application 
of well-known chemical substances. These several 
conditions must be well observed in order to secure 
good results. The iodide of silver must be well 
formed on the surface of the glass. The light 
given must be only so much as will produce the 
image, and reveal it after the application of the 
developing solution, and this must be of just the 


POSITIVES ON GLASS. 


33 


requisite strength to produce the reduction from 
the iodide to the oxide of silver. 

The impression is therefore given solely by the 
action of light, or by certain properties of that 
mysterious body. Yet when the plate is removed 
from the camera, there is no apparent change pro¬ 
duced, but on applying the developing solution, 
the sleeping and invisible image awakes and starts 
into life, and commands from every beholder an 
expression of wonder and admiration. 

Fixing the picture is a subsequent operation, 
and is no part of the process of production, only 
so far as it may be necessary to render it perma¬ 
nent, and also to remove the unaffected iodide of 
silver, a portion of which is not at all changed by 
the light. Only those parts are affected which are 
necessary to produce the light and shade. 

Positives on glass are taken with chemicals 
varying slightly from those used in producing 
negatives, and also by a much shorter exposure in 
the camera. In fact, a positive is only a negative 
with a less degree of exposure to the action of 
light. All positives could of themselves become 
negatives were the time of exposure prolonged 
sufficiently to effect that result, though their use as 
a means of producing subsequent positives on 


34 


AMBROTYPES IN THE UNITED STATES. 


paper is a matter of doubt, for there are certain 
other conditions necessary for success in the pro¬ 
duction of good negatives not known in the posi¬ 
tive process. 

These positives on glass are now so widely rec¬ 
ognized as Ambrotypes , that we shall venture to 
assume that name as one sufficiently significant 
and appropriate for our purpose. 

Ambrotypes are now so well known, that they 
may almost be said to be identified with the prog¬ 
ress of the art in the United States, and belong 
exclusively to this country. They are not known 
as such in Europe. They are there classed under 
the head of Photographs, and the public here are 
frequently led into error on this point, and sup¬ 
pose, in fact, that Ambrotypes are a new creation 
—a new kind of picture only known here, while 
in truth they were first taken in Europe, and are 
merely photographs on glass, taken positively in¬ 
stead of negatively. 

The details of the process, and the necessary 
manipulations, are of course to be found only in 
the practical portion of this work. 

The whole art consists, therefore, in the careful 
preparation of the glass plate, in the most scrupu¬ 
lous cleanliness and accuracy of the employment 


PHOTOGRAPHIC DIFFICULTIES. 


35 


of every material requisite to the process, and in a 
most implicit obedience to such rules as are laid 
down in this work for the guidance of those who 
would insure success. 

The results set forth in these pages were ob¬ 
tained after much patient labor and investigation 
on the part of a host of intelligent inquirers, who 
have successfully overcome difficulties which, could 
they have foreseen, would have appalled the most 
patient and determined mind. Happily for the 
photographer who now commences his operations, 
he may profit by the experience of others, and be 
spared the labor and investigation of earlier op¬ 
erators. 

The path for him is now rid of its most formi¬ 
dable difficulties, and should he be induced to ex¬ 
amine carefully the abstruse philosophical princi¬ 
ples upon which this fascinating art depends, he 
may, in his turn, become a contributor to its im¬ 
provement and advancement. 

The experience of the humblest may sometimes 
furnish a suggestion, which investigations of the 
most refined and cultivated may have long failed 
to accomplish. 

The art is greatly suggestive. It offers many 
fields of speculation, and the great aim of all who 


36 


TRIUMPH OF ART OYER NATURE. 


practise it should be to perfect it as soon as possi¬ 
ble, for, like all the creations of man’s genius, it is 
not yet complete. But the rapid strides it is now 
making towards long wished-for perfection are so 
apparent, that we confidently look to the accom¬ 
plishment of the greatest end sought—namely, the 
reproduction of the colors of nature. This result 
once obtained, the artist could lay aside his easel 
and pallet. He could then retire from the arena 
where he now stands contending so unprofitably, 
in a pecuniary point of view, with the photogra¬ 
pher. 

But this seeming triumph of nature over art by 
the pencillings of the sunlight—the sun himself 
becoming the universal and sublime artist!—is 
really the triumph of art over nature; for since 
art, conscious of the weakness and imperfections 
of her best efforts, has had the tact and skill to 
wheel the forces of nature into her own ranks, the 
result should be set down to her own credit, as her 
own victory. 


PART I. 


PRACTICAL DETAILS 

OF THE 

NEGATIVE PROCESS. 


POSITIVE PHOTOGRAPHS ON PAPER. 




















\ ' •' I 


CHAPTER I. 

ON THE PRACTICE OF THE NEGATIVE PROCESS THROUGH 

ALL ITS DETAILS-THE MANIPULATIONS-CLEANING 

THE PLATE-COATING WITH COLLODION-DRYING 

THE SAME-TIME IN THE CAMERA-DEVELOPING- 

RE-DEVELOPING FOR INTENSITY-VARNISHING THE 

NEGATIVE-FRAMES OR SHELVES FOR NEGATIVES 

-GENERAL REMARKS ON THE MANIPULATION OF 

THE NEGATIVE PROCESS—ARRANGEMENT OF THE 
LIGHT-USE OF THE CAMERA, ETC., ETC. 

There are so many various plans suggested by 
practical operators in the Photographic Art, all 
varying so much in detail, that the author has 
thought proper to simply coniine himself to one 
line of practice, which has been found to produce 
the best results. 

All negative Photographs at the present stage 


40 


NEGATIVE PHOTOGRAPHS. 


of the art are taken on glass, and they are called 
negatives from the fact that all the lights and 
shades are reversed— i. e. where the portrait in 
life presents the high lights (or where the light falls 
the strongest, and it should appear the lightest), in 
the negative it appears the darkest. In like man¬ 
ner, where the dark shades are seen in a positive 
to be dark as in life, in the negative they are seen 
light, or to present the high lights. They present 
these peculiar phenomena only when viewed by 
transmitted light, or light passing through them, in 
which position they can only be seen with proper 
effect. When viewed as a positive, laid on a 
blackened substance, they resemble in some de¬ 
gree a positive that has been too long exposed in 
the camera. They cannot be viewed properly in 
any other manner than by transmitted light. 

However, they are never to be sealed up for 
sale in any form, but are always reserved by the 
artist to print from, any number of copies that may 
be desired. And herein consists the great beauty 
and perfection of this branch of photography. 
We have the power of multiplying ad infinitum , 
even far greater than if it were printed from an 
engraving. The negative itself can be reproduced 
and multiplied so that exact facsimiles could be 


CLEANING THE PLATE. 


41 


obtained, and even thousands printed by every 
negative, so nearly resembling each other, that 
none could distinguish the first original positive 
impression. 

Regarding the manipulation of negative process 
as a simple chemical operation, with certain chem¬ 
ical auxiliaries, it is very easy of accomplishment. 
When once properly understood, if certain rules 
are observed, it is more sure of success than most 
others in the art. 

The first requisite to success is the cleaning of 
the glass plate, which is easily done by rubbing it 
with a piece of cotton-flannel dipped in alcohol, 
slightly diluted with water; and in case of using 
the glass the second time, a small quantity of rot¬ 
ten-stone, whiting, or tripoli powder, may be 
added. 

Be careful to dust the glass with a flat camel’s- 
hair brush just before pouring on the collodion. 
Holding the glass in the left hand, standing near 
the bath, pour the collodion On with a continuous 
stream from the bottle until there is enough, 
which when flowed over the whole surface of the 
glass will just cover it. Then let the superfluous 
quantity run off at the right-hand corner into the 
bottle, slightly moving the glass plate so that the 
4* 


42 


TIME IN THE CAMERA. 


collodion will not dry in lines or ridges; a quick 
motion may be necessary to insure a perfect flow 
of it over the surface. On holding the glass up to 
transmitted light, it should appear perfectly clear 
and transparent, as though no collodion was upon 
its surface—at least, no lines, streaks, or spots. It 
any are visible, the negative will be faulty. 

Let it dry until it appears almost free from 
moisture ; now darken the room ; then place it in 
the bath for one or two minutes, or until the iodide 
of silver is perfectly formed on its surface, which 
can easily be ascertained by raising the plate from 
the bath. If the surface presents a uniform ap¬ 
pearance, clear and without any lines or streaks 
like grease or oil, then it is ready for the camera: 
a slight motion of the plate will produce this re¬ 
sult. 

The time of exposure in the camera is entirely a 
matter of judgment and experience. No definite 
rules can be laid down; but usually, in a strong 
light, with the ammonia collodion and the neutral 
bath, from fifteen seconds to one minute will an¬ 
swer. 

The time of exposure can easily be ascertained 
by a trial plate. 


DEVELOPING OF THE NEGATIVE. 


43 


THE DEVELOPING OF THE NEGATIVE. 

This requires great care and much practice, for 
if the process in all its details is correctly followed, 
and only a slight variation in the developing of 
the image, the resulting negative will be of no 
avail. 

As soon as possible after the light has acted 
upon the plate in the camera, remove it to the de- 
veloping-stand, or it may be held in the hand, and 
pour the solution well filtered upon the surface, but 
only just enough to cover it, retaining all the free 
nitrate of silver which had adhered to the plate on 
its removal from the bath. The silver itself acts 
as a means of darkening the negative. 

The developing solution of protosulphite of iron, 
on page 89, will be found the most useful, and in¬ 
deed the only one recommended for good nega¬ 
tives. After allowing this solution to remain on 
the surface for a few seconds, the outlines of the 
negative will appear. Then, if not sufficiently in¬ 
tense, pour off* the developer, and cover it again 
two or three times, until sufficient intensity is ob¬ 
tained. The negative should gradually appear 
first in the high light, then the drapery; and, 
lastly, it should seem to fade partially away. 


M 


VARNISHING NEGATIVES. 


FIXING THE NEGATIVE. 

Always fix the negative in a strong solution of 
hyposulphite of soda. This will of course remove 
the iodide of silver slowly, but the collodion is less 
liable to be attacked by the use of soda than by 
cyanide of potassium. A saturated solution will 
remove the iodide of silver more readily, although 
a less quantity of soda will answer. It is found 
that whatever quantity is employed, it loses its 
strength on the immersion of every plate, and 
must be frequently renewed. 

VARNISHING NEGATIVES. 

In order to preserve negatives in a proper state 
for future use, it is well to varnish them. If they 
are intended only to print a few copies, a varnish 
of gum-arabic is preferable, not very thick, about 
the consistency of collodion. 

If the negative is required for many prints, the 
better course would be to varnish with the white 
negative varnish. All varnishes are poured over 
the plate in the same manner as collodion, and al¬ 
lowed to dry by being placed on its edge, secure 
from dust, until it has thoroughly dried. 


ARRANGEMENT OF THE LIGHT. 


45 


FRAMES OR SHELVES FOR HOLDING NEGATIVES. 

It is very necessary that the negatives should be 
kept in some secure place; and two shelves, hav¬ 
ing grooves in them above and below, so that the 
glasses shall stand on the edges in them, is the 
best receptacle when not in use. Shelves of 
various widths, according to the size of the glasses, 
are required, and with a door that shall close in 
front of each to exclude the dust, &c. 

The manipulation of the negative process is so 
very important, that certain hints are necessary to 
insure absolute success. 

The arrangement of the light upon the sitter is 
of vast importance. It should fall with a full force 
upon the drapery, if it is of a dark color; and the 
background, which is usually of a somber hue, 
should also be well lighted up from the skylight. 
Arrange the subject in a favorable position to pro¬ 
duce the most pleasing effect of light and shade 
upon the face—carefully attending to the pointed 
light upon the eyes. Avoid the long line of light 
upon therm If possible, produce a uniform light 
on the drapery, as that portion is more likely to 
be clouded than any other. 

The position of the camera should demand a 


46 


EXPOSURE OF THE PLATE. 


careful study. Some cameras require to be eleva¬ 
ted more than others, which can be ascertained by 
actual experiment. Some will work more uni¬ 
formly over the whole plate when arranged in an 
exact line with the face of the sitter. 

A skylight which is nearly flat, or one that is 
slightly elevated only on one side, has been found 
to produce the most pleasing effects in Photog- 
raphy. 

The length of time of exposure of the plate to 
the action of light is a matter of vast importance, 
because the intensity of the negative is affected 
thereby—which will be seen on application of the 
developing agent. If too long time has been em¬ 
ployed, the print will appear flat in details; al¬ 
though the drapery may appear distinct, the round¬ 
ness will be lost. The middle tints of the face 
which are so desirable, will not appear. It is 
better to give a short time first, and bring up the 
intensity by developing. A short exposure in the 
camera, if the developing solutions are capable of 
producing a powerful negative, is found to be the 
best for strong and vigorous effects. The point to 
arrive at is to allow just long enough exposure 
that the developing agent shall just bring out the 
negative of the required intensity, and no more. 


GLASS FOR NEGATIVES. 


47 


By a trial picture giving what may be supposed 
nearly the exact time, if too short the augmenta¬ 
tion of the next succeeding trials will eventually 
arrive at the correct result. 

It may be proper to mention, that glasses used 
for negatives do not require to be of such purity as 
those designed for positives; even good window- 
glass, which is selected as free from bubbles as 
possible, will answer a very good purpose. The 
expense, therefore, for material for Photographic 
negatives will not be very great, and the artist can 
retain them for future use after one or two im¬ 
pressions have been taken, so that any future day 
he may produce more pictures for his patron with 
out any additional sitting. 


CHAPTER II. 


THE NITRATE OF SILVER BATH FOR NEGATIVES- 

PREPARATION OF THE SAME-FORMATION OF THE 

IODIDE OF SILVER FOR THE NITRATE BATH-ON THE 

PRACTICE OF THE NEGATIVE BATH-OBSERVATIONS 

ON THE USE OF THE NEGATIVE BATH-ON THE IN¬ 
TENSITY OF THE NEGATIVE-COLOR OF THE NEGA- 

• | 

TIVE, ETC., ETC. 

THE NITRATE OF SILVER BATH FOR NEGATIVES. 

The bath of nitrate of silver, which is most com¬ 
monly in use for negatives, is that known as the 
nitrate bath. Great care is essential to its proper 
preparation, and we shall proceed to lay down the 
precise form to make a bath that will produce the 
most satisfactory results. The proportion of ni¬ 
trate of silver required to each ounce of water is 
usually about fifty grains, though this is not abso¬ 
lutely essential. 

All negative baths require a certain degree ol 
working or use before they will act to the best ad- 


THE NITRATE OF SILVER BATH. 


49 


vantage. They should always be combined with 
a portion of iodide of silver ; and even that should 
be added again after long use, as many times that 
simple remedy will remove difficulties which were 
deemed insurmountable. 

Having ascertained the number of ounces the 
bath contains (see page 50), weigh out the quan¬ 
tity of nitrate of silver necessary to produce, when 
dissolved, about fifty grains to each ounce of water. 
Dissolve about one ounce of the nitrate of silver in 
four or six ounces of water; then dissolve the bal¬ 
ance of the nitrate of silver which will be required 
to fill the bath in the remaining portion of the 
water. 

For every ounce of nitrate of silver which is re¬ 
quired in the bath to render it fifty grains to each 
ounce of water, there must be measured out three 
grains of iodide of ammonia. This is to be formed 
into iodide of silver by first dissolving the iodide 
of ammonia in about two ounces of wafer, and 
adding thereto say two fluid drachms of the solu¬ 
tion of nitrate of silver, in which one ounce of the 
silver has been dissolved in four ounces of water. 
This will immediately throw down a yellow pre¬ 
cipitate, which is the iodide of silver. Wash this 
precipitate three times with water, by filling the 

5 


50 


TI1E NITRATE OF SILVER BATH. 


graduate dish or bottle, which should contain at 
least six ounces of water, and allow it to settle : 
then pour off the water, leaving the iodide of sil¬ 
ver at the bottom. When this is well washed, 
add it to the ounce of silver previously dissolved 
in the four ounces of water. Shake it well, then 
pour the whole into the bottle containing the bath. 
A milky appearance will be seen in the bath, 
which is well to remain in that state for a few 
hours to dissolve as much of the iodide of silver as 
possible. After filtering the bath until it becomes 
clear, it is ready for use. 

A. bath prepared according to the foregoing, if 
required to be of sixty-four ounces of water, would 
contain the following proportions: 

04 x 50 = 3200 grains, or of nitrate of silver 6f ounces. 

Iodide of ammpnia ..... 20 grains. 

Water ....... 2 quarts. 

There will be in 6f ounces of silver, 3240 grains, 
allowing 480 grains to each ounce. The above 
quantity will be as near 50 grains to the ounce as 
will be required for all practical purposes. 

Distilled water is preferable in all cases. Though 
perfectly pure, soft water will answer, if it has 
not been kept long in wooden vessels. If it has 
been so kept, it can be first boiled and filtered 


PRACTICE OF THE NEGATIVE BATH. 


51 


through paper, to remove any traces of vegetable 
matters. 

By referring to pp. 133 and 134, and the sub¬ 
sequent pages relating to the preparation of the 
nitrate of silver bath for Ambrotypes, much valua¬ 
ble information will be found, which can be adopted 
in the negative bath. The bath will require neu¬ 
tralizing, should any excess of acid accrue in it. 
The process of neutralizing will be found on 
page 137. 

The negative collodion, which is more frequently 
used with a perfectly neutral bath, as above de¬ 
scribed, is that recipe found on page 82. 

ON THE PRACTICE OF THE NEGATIVE BATH. 

The use of the negative bath requires much care 
and attention, for herein lies one of the elements 
of success in the production of perfect negative 
impressions. 

By using the ammonia collodion constantly, the 
bath is liable to be changed, as it necessarily must 
be, in its chemical character. Iodide of silver is 
formed upon each plate, and consequently less sil¬ 
ver is contained in the solution, and alcohol is 
added to the compound from the collodion, as well 
as a trace of ether. It will soon be found to be 


52 


PRACTICE OF THE NEGATIVE BATH. 


slightly acid in testing with litmus-paper. This 
acid tendency sometimes is not objectionable; but 
if there is too much of it, neutralize the bath, and 
test with a hydrometer to ascertain the strength of 
silver. Always keep the strength equal to fifty 
grains to the ounce. In adding more silver to the 
bath, it may be effected more readily by first dis- 
solving the quantity required in a separate bottle 
from the one used expressly for the nitrate bath. 
Filter always before adding to the bath. Always 
be provided with two bottles, having glass stop¬ 
pers sufficiently large to hold the contents of the 
nitrate bath, into one of which it may be filtered. 

It is recommended also to add silver often to the 
bath, if it is in constant use, because if the greater 
portion of the solution is removed (as some must 
necessarily be every time a plate is immersed) by 
adding a large quantity, the whole nature of the 
bath is changed. 

Many operators provide themselves with suffi¬ 
cient solutions for two or three baths. This is a 
plan highly recommended, as a bath actually im¬ 
proves by age, even if it is not worked every day. 
Old baths which have been laid aside as useless 
except for restoration, have, after many days, on a 
new trial been found to produce good results. 


PRACTICE OF THE NEGATIVE BATH. 


53 


There is a constant change taking place in the ni¬ 
trate baths, and there are many phenomena con¬ 
nected with them wholly unexplained as yet by 
the most successful operators. Sometimes an acid 
bath will work more surely for negatives than a 
neutral, and sometimes a neutral bath is preferred. 
The general rule to be observed is, that, if a bath 
is acid, the time of exposure in the camera is 
lengthened, and as we approach the neutral point 
the time is lessened. Therefore to work a bath a» 
nearly neutral as possible, is the most sure of 
success. 

In order that the negatives should produce good 
positive pictures on paper, they should be very 
transparent in the dark portions, such as the dra¬ 
pery, &c., and of such intensity in the light parts 
that a ray of light can with difficulty be trans¬ 
mitted, and this must be combined with a regular 
gradation in the middle tints. 

These desirable results can be attained by using 
the collodion somewhat thicker for the negatives 
than for positives or Ambrotypes, as thereby a 
thicker deposit of silver is obtained on the surface 
of the glass. 

Also a stronger nitrate bath, and using it as 
nearly neutral as possible, and a longer exposure 
5 * 


u 


THE COLOR OF NEGATIVES. 


in the camera, together with less acid in the de¬ 
veloper; all these combined will produce the de¬ 
sired end, viz., an intensity such as will print posi¬ 
tives having all the beauty so much desired in 
good Photographs. The absolute intensity, how¬ 
ever, of a negative does not always depend upon 
the thickness of metallic silver, but to a certain ex¬ 
tent upon the color it may have when seen by 
transmitted light. Negatives also vary in color; 
some are translucent and of a bronze color, others 
are of a bluish-black, whilst some are of a gray 
color. The color most to be sought after is the 
bluish-black, because the«e are found to print 
more uniformly clear in their details. 

Sometimes the best negatives are those which 
may appear to be weak, because the chemical rays 
are more obstructed, and the print is consequently 
more uniform in its gradations of light and shade. 

The color of the negatives depends on certain 
conditions of the bath, the time of exposure in the 
camera, the nature and strength of the developei-, 
and the quantity of acetic acid contained in it. 
Sometimes the presence of organic matter, which 
will collect in the bath, may affect the color and 
tone of the negatives. So that no positive rules 
can be laid down for the continued action of a 


UNCERTAINTIES IN THE ART. 


55 


bath; practice alone must be the teacher in this 
branch of the art. 

Seeming uncertainties may appear to some who 
have not had much experience in the art as obsta¬ 
cles of great moment. But they will all vanish 
after a short time. These apparent contradictions 
and perplexities are only met with for any length 
of time in the experience of those persons who do 
not attend to the minute details of the art, such as 
cleaning well the plate, decanting the collodion, 
the proper length of time of developing the pic¬ 
ture, &c. The practice of this beautiful art must 
not be condemned because it contains a few seem¬ 
ing contradictions; for if it was easily acquired, 
and always certain of success, there would be no 
incentive to excellence, and those persons who pos¬ 
sessed only a limited taste and experience, could 
rival the artist in the creations of his genius. It 
may therefore be deemed a fortunate circumstance 
to those who would wish to excel, that the road to 
full success lays through a few rugged passes, and 
he who would reach the goal of perfect accom¬ 
plishment must encounter some difficulties. 


CHAPTER III. 


ON PHOTOGRAPHIC PRINTING—SALTING SOLUTIONS- 

SALTING THE PAPER-SILVERING THE PAPER WITH 

AMMONIA NITRATE OF SILVER-PLAIN SILVER SO¬ 
LUTION-TO PREPARE THE ALBUMEN FOR PAPER 

POSITIVES-SILVERING ALBUMEN PAPER-ON THE 

PRACTICE OF PRINTING NEGATIVES-TONING OR FIX¬ 
ING THE PRINT-WASHING THE POSITIVE PRINTS 

-DRYING THE PICTURES-VARNISHING AND MOUNT¬ 
ING THE PRINTS. 

The printing of the Photographs is that por¬ 
tion of the art wherein great care and attention is 
demanded, and where much of the beauty and fin¬ 
ish of the picture is due. The success of it de¬ 
pends upon a perfectly proper understanding of 
the process. 

Having selected the best quality of paper, it may 
for convenience be cut into sizes such as wall be 
required for use in the printing frames. Though 
this is not absolutely necessary, the large sheets, as 
they are manufactured and imported for use, can 


THE SALTING SOLUTIONS. 


57 


first be salted, dried, and laid aside in some secure 
place, free from dust or fumes of chemicals. 
When wanted for use, they may be cut of what¬ 
ever size may be required. 

THE SALTING SOLUTIONS. 

One quart of pure soft water. 

90 grains of hydrochlorate of ammonia, or common sal 
ammoniac. 

(Sal ammoniac is found to he the best preparation of salt, 
as it contains less impurities than any other known.) 

Dissolve and filter. 

Place this in a large flat dish, which may be of 
gutta-percha, earthenware, or porcelain, or even 
wood, if it is varnished thoroughly with gum-shel¬ 
lac varnish. The dish must be nearly filled, and 
of sufficient dimensions to admit the whole sheet of 
paper if laid in it. 

The paper is to be immersed one sheet at a 
time, by laying hold of the sheet at two corners, 
and it must be drawn quickly through the solution 
twice, allowing the liquid to wet it as it may on 
the surface of the paper only, in effect to lay the 
solution of salt upon its surface without disturbing 
the fibres of the paper. 

Hang each sheet up separately to dry in a room 
free from dust or any chemical exhalations. The 


5S 


SILVERING THE PAPER. 


better plan of suspending paper, either in the salt' 
ing or silvering process, is to use the patent 
clothes-pins, which can be arranged on a cord 
across the room. Great care should be observed 
in salting the paper to avoid stains, spots, or wrin¬ 
kles. The hands should never touch any portion 
"of the paper except the cornel’s. The salted pa¬ 
pers can be laid aside, and will keep for a great 
length of time. 

SILVERING THE PAPER. 

The paper already salted and dried, to be sil¬ 
vered, may be effected by two or three methods. 

The ammonia nitrate solution, the preparation 
of which is described on page 95, is the one mostly 
in use, and one that will produce, with plain salted 
paper, the most pleasing results. 

The silver solution which may be required for 
use at one time, is first filtered into a clean bottle, 
and the paper laid upon a flat surface, covered 
with paper or card-board, is to be fastened down 
hy the corners with pins or any other article which 
will cause it to remain stationary. The silver so¬ 
lution is then poured on the middle of the paper, 
enough to cover it; and with a ball of cotton just 
newly prepared, carefully spread the silver over 


PLA.IN SILVER SOLUTION. 


59 


the whole surface, by means of round lines or cir¬ 
cles, from the centre of the paper to the circum¬ 
ference. The superfluous silver can be poured into 
a bottle, but not used again, as it is changed into 
a chloride of silver, owing to its contact with the 
salt of the paper. It may be reserved in the hot* 
tie, to mix with other silver solutions, that are use* 
less except for the restoration of the pure silver, as 
described on page 105. The same ball of cotton 
can be employed to silver all the papers that may 
be wanted at one time, if it is laid on a clean piece 
of paper, but a new one will be required for a sub¬ 
sequent preparation. 

The silvered papers should be hung up to dry in 
a dark room, and only enough prepared that may 
be wanted for immediate use. In the winter sea¬ 
son, however, they can be used for two or three 
days after preparation, if kept carefully excluded 
from the light, in a portfolio or drawer. 


PLAIN SILVER SOLUTION. 

This can be used with the prepared chloride of 
sodium paper, sold by dealers in Photographic 
materials, and consists of dissolving ounces of 
nitrate of silver in twelve ounces of water. This 


60 


TO PREPARE ALBUMEN PAPER. 


is also used for silvering the albumen paper, whicl 
is prepared as described on page 61. 

The chloride of sodium paper and the albumen 
paper is silvered by laying each sheet separately 
on the silver solution, contained in a flat dish, and 
allowing it to float for five minutes, care being ob¬ 
served that no air-bubbles collect under the paper. 

The silver solutions must always be filtered 
through cotton before applying them to the paper. 
It is only necessary to filter such quantity as may 
be wanted for immediate use. 

The bottles containing the silver solutions should 
be blackened over with black asphaltum varnish, 
to exclude the light, and always kept as much as 
possible in a dark place. Papers maybe silvered 
in a light room, though not where the direct rays 
of the sun can fall on them. 

TO PREPARE THE ALBUMEN PAPER. 

Take the whites of three or four fresh eggs, and 
beat them with a glass rod or flat piece of glass 
until the article becomes of a frothy consistency. 
Remove the froth, and place it in a cool place, and 
allow it to return to its liquid state again, in a 
long bottle. 

Pour off the clear portion of this, and add to 


SILVERING ALBUMEN PAPER. 


61 


every fluid ounce say from one to four ounces of 
water, according to the strength of albumen that 
is required. To each ounce of this fluid of albu¬ 
men and water, which will readily combine, add 
fifteen grains of hydrochlorate of ammonia : filter. 
For salting paper with albumen, it should be 
floated three or four minutes. Thin paper is gen¬ 
erally preferred for the purpose. 

SILVERING ALBUMEN PAPER. 

Albumen paper must always be silvered with 
plain silver, of the proportions given on page 59. 
It must also be floated on the surface of the solu¬ 
tion for four or five minutes, never brushed in, as 
in the ammonia nitrate process. 

After using this silver solution with the albumen 
paper, there will a milky appearance be observed, 
which can readily be removed by mixing a small 
quantity of kaolin or china-clay with the silver, 
and, before using it, filter it clear. 

If the proper manipulation is attended to in the 
use of the albnmenized paper, the results will be 
far more pleasing than by the ammonia nitrate 
process. The trouble and time required, how¬ 
ever, is much greater in the former than in the 
latter. Therefore the ammonia nitrate is generally 

6 


62 


PRINTING FROM NEGATIVES. 


adopted by the profession as more certain in its 
results. 

PRINTING FROM NEGATIVES. 

The usual time required to print a picture from 
a good negative, under the most favorable circum¬ 
stances, is about four minutes. It is proper to 
state, however, what are the most favorable cir¬ 
cumstances. They are good paper, good silvering 
solution, and a clear sun-light, with all the neces¬ 
sary details of the practice carefully followed, as 
in the foregoing directions. 

Negatives may be printed with a subdued light, 
and printed well, as there are many cloudy days 
when the prints are wanted. Of course, the time 
of exposure must be prolonged, and even an hour 
may sometimes be required to produce the neces¬ 
sary depth of color on the paper. 

The color which is to be obtained on the print 
before it is ready to remove from the printing 
frame, is of considerable importance. The best 
prints are generally those which are left long 
enough to assume a depth of shade nearly the in¬ 
tensity that may be wanted when finished and 
dried, rather darker than the color desired, in or¬ 
der that the time occupied in the toning bath shall 


TONING OR FIXING THE PRINT. 


63 


fix the color, to lighten the shades only in a slight 
degree. 

Prints that are too dark on removal from the 
printing frame, can be rendered sufficiently light 
by a long action of the toning bath. But such 
prints will be the more likely to assume a yellow 
hue, and ultimately fade. The shortest time in the 
toning bath to produce the desired shade and color 
is recommended. Therefore prints should not gen¬ 
erally be overdone or oyer-printed when one toning 
bath is used. 

The kind of printing frames recommended are 
described on page 109. 

After the picture is removed from the printing 
frame, it must be carefully excluded from the light, 
by placing it in a portfolio or drawer, or where no 
vapors can reach it. A number of prints may be 
prepared and laid aside, and all toned or fixed at 
once. 


TONING OK FIXING THE PRINT. 

The beautiful tone or color of the prints in their 
removal from the printing frame, has been a sub¬ 
ject of remark by many operators, and various 
efforts have been made to preserve that most to be 
desired color, yet it has never been accomplished. 


64- 


TONING OR FIXING THE PRINT. 


As soon as the fixing solution comes in contact 
with the paper, a great change takes place, which 
does indeed arrest the progress of the light, but 
produces another and entirely diverse change. As 
the art progresses, some devotee may luckily ar¬ 
rive at the discovery of fixing the exact tone and 
color seen on its removal from the printing frame. 

The first operation of toning the picture is to 
place it in a bath of clear water, in a dark room, 
of course, or in a salt solution of two or three 
ounces of salt to one quart of water. This removes 
all the chloride of silver not acted upon by the 
light. They should remain in the salted solution 
only a short time, say one or two minutes, then 
place them in a bath of pure water to remove the 
superfluous salt. This plan of first placing the 
print in a solution of common salt may be omitted. 
It may be placed immediately on removal from 
the frame into the toning bath, or it may be laid in 
a portfolio, and excluded entirely from the light 
for several hours, then placed in the toning bath. 
After which they may be brought out in the light 
and placed in the toning bath, as found on page 
91, and allowed to remain there until the desired 
color is attained, which will vary according to the 
strength of the bath and the depth of the print— 


WASHING POSITIVE PRINTS. 


65 


generally from ten to thirty minutes for ordinary 
prints, yet sometimes one or two hours are neces¬ 
sary. They must be carefully watched in the 
bath, and as soon as sufficient time has elapsed to 
produce the desired tone, remove them to a bath 
of clear water. 

WASHING POSITIVE PRINTS. 

This portion of the photographic process is of 
great importance, for unless the prints are well 
washed, so as to remove every trace of hyposul¬ 
phite of soda, they will invariably fade or turn 
yellow. Various methods are adopted to remove 
the hyposulphite, but the plan most likely to in¬ 
sure that result is of course recommended. The 
longer the prints remain in the water, and the 
oftener they are changed, will of course more effect¬ 
ually remove the destroying agent. Strange, in¬ 
deed, that the very substance, hyposulphite of soda, 
which adds so much beauty to the Photograph, 
should be the very one to cause its destruction. 

The most expeditious method is to place the 
print on a piece of plate-glass, and allow a stream 
of water to fall upon it for a few minutes. Then 
press it between clean white blotting-paper, re¬ 
peating the operation two or three times. It has 
6 * 


WASHING POSITIVE PRINTS. 


6« 

been found that the oftener the water is changed 
in the washing process, the more beautiful the 
tones of the prints. Nor should they remain for 
any great length of time in one vessel of water. 
The better plan to adopt, when it is possible, is to 
place the prints in a flat dish or tub, where they 
will float, and where a constant stream of water 
is running in, and of course another stream dis¬ 
charging as fast as the supply is given. A very 
small stream will suffice. By the foregoing ar¬ 
rangements, all those spots and stains so frequently 
met with will be avoided. 

The washing of Photographs may sometimes be 
completed by placing them in a large vessel of 
water, and allowing them to remain for several 
hours. This can only be done after they have 
been first immersed in several changes of water, 
say five or ten minutes in each. Still another plan 
of removing the hyposulphite of soda is highly 
recommended in the immersion of the prints in 
warm water. By changing it often with cold 
water, and allowing it to remain for about an hour 
in warm water, it will most effectually remove the 
traces of the soda. Lastly, press each print be¬ 
tween two thick pieces of plate-glass, and hang 
them up to dry. 


MOUNTING THE PICTURE. 


67 


All these various methods are adopted by the 
profession, and the successful operator will follow 
those most convenient of practice, carefully observ¬ 
ing, in order to produce excellent results, that the 
prints shall not remain more than ten minutes 
in the first or second bath of pure water, because 
the chemicals which pass into the water, and are 
so necessary to remove in order to fix the impres¬ 
sion permanently, are likely to injure the beauty 
and tone of the picture. 

DRYING, VARNISHING, AND MOUNTING THE 
PICTURE. 

The prints may be hung up in the clothes-pins 
to dry, but not in the sun. As soon as they are 
well dried, place them in a portfolio, or between 
leaves of white paper, and press them under some 
object, so that they shall not wrinkle. They are 
then ready for mounting and varnishing. 

The varnish for pictures is made as described 
on page 100, and may be laid on the picture before 
it is cut in the shape required, or it may be effected 
after it is on the card-board. 

A solution of dextrine, prepared as described on 
page 104, is the best for holding the print in its 
place ; yet simple gum-arabic will answer if it has 


68 


MOUNTING THE PICTURE. 


been thoroughly strained and cleared of all parti¬ 
cles of dust. 

The shape of the print may be made by laying 
a mat or border over it of any desired size, then 
marking with a pencil, and afterwards cutting it 
carefully with the scissors. Or it may be laid on 
a piece of plate-glass, with the mat laid over it, 
and cutting it into shape with a sharp penknife. 

In pasting the print upon the card-board, great 
care must be observed that no wrinkles are allowed 
on the surface, as they will invariably injure the 
print. After the prints are pasted on the boards, 
they should be laid under a pressure, so that great 
smoothness of surface shall be attained. A warm 
flat-iron is sometimes used with good success, by 
laying a piece of white paper over each print, and 
carefully pressing it smooth. 


CHAPTER IV. 


TO COPY DAGUERREOTYPES AND OTHER PICTURES INTO 
PHOTOGRAPHS-ON ENLARGING PICTURES-TO EN¬ 

LARGE PICTURES FROM DAGUERREOTYPES, AMBRO- 
TYPES, OR PHOTOGRAPHS-AND TO PRODUCE PHO¬ 
TOGRAPHS FROM THEM-TO MAKE LIFE-SIZE PHOTO¬ 
GRAPHS ON PAPER-IRON PHOTOGRAPHS, OR IN¬ 
STANTANEOUS PRINTING-ON TAKING STEREOSCOPE 

PICTURES, PHOTOGRAPHIC VIEWS, ETC., ETC. 

The copying of Daguerreotypes into other Da¬ 
guerreotypes, lias long been in practice. Latterly 
they have been successfully copied into Ambro- 
types and Photographs. But Photography has 
gone still further, and life-size pictures are now 
produced which, w T hen painted by the skilful art¬ 
ist, have rivalled the creations of most painters, 
both in the correctness and faithfulness of the like¬ 
ness, which must needs be infallible. 

The last great achievement of the Photographic 
Art, is the production of life-size, full-length por- 


70 


ENLARGEMENT OF PICTURES. 


traits. This is accomplished by the means of the 
new solar camera, lately introduced, which bids 
fair to supersede all other methods of enlarging 
pictures. Those who may not possess the new solar 
camera, can adopt the following process, which 
will be found very useful and practical. 


TO ENLARGE PICTURES FROM DAGUERREOTYPES, 

AMBROTYPES, OR PHOTOGRAPHS—AND TO 
PRODUCE PHOTOGRAPHS FROM THEM. 

The following apparatus will be required for the 
process, viz.: 

One quarter-plate tube, and lens. 

One whole-plate camera box. 

One or two mirrors to be used as reflectors. 

One camera box, capable of holding a glass 14 by 17 
inches. 

The pictures or portraits more frequently re¬ 
quired to be enlarged are the ordinary Daguerreo¬ 
types, from the fact that these are the kind of por¬ 
traiture the longest in use. Many are desirous of 
obtaining portraits of their deceased friends, life- 
size, and the demand for that class of pictures is 
consequently greater than any other. 

The plan more easily adopted, is first to take a 
negative from the Daguerreotype of the ordinary 


ENLARGEMENT OF PICTURES. 


71 


half or whole plate size, which is effected by the 
use of a quarter-plate tube on a whole-size camera 
box. Place the picture to be enlarged, whether it 
be a Daguerreotype, Ambrotype, or Photograph, 
in the direct rays of the sun, or by reflecting the 
sun upon it with a mirror, then bringing the 
camera box as near the picture as will be required 
to produce the desired size ; the focus being taken, 
a negative can easily be obtained by exposure of 
thirty seconds to a minute and a half. The nega¬ 
tive should be as large as possible if on a half¬ 
plate, in order that it may be enlarged to life size 
by the next operation. 

From the print now obtained, which must be 
first pasted on a card-board, another negative can 
be produced, either of the cabinet or life size, with 
the quarter tube attached to the camera box, which 
must be capable of holding glasses of 11 by 14 
inches, and 14 by 17. Place the pictures in the 
direct rays of the sun, or use a reflector as before, 
and any size may be taken, up to the size of life,— 
showing, of course, only the head and shoulders. 

The print from this negative will not be so dis¬ 
tinct in the outline as though it was taken from 
life ; yet it will retain all the outline and sufficient 
of the details for all purposes of painting, and it 


72 


ENLARGEMENT OF PICTURES. 


may be printed either upon paper or canvas with 
the same facility as ordinary Photographic print¬ 
ing. 

In order to insure a more perfect negative, it 
may sometimes become necessary to use more than 
one mirror as a reflector of the sun’s rays upon the 
surface of the picture. The more powerful the re¬ 
flection the more distinct will be the negative. 
The re-developing with bi-chloride of mercury, as 
given on page 92, is highly recommended in this 
process. 

A negative may be taken without the direct 
rays of the sun from any picture; but, in enlarg 
ing, the powerful light of the sun is deemed al¬ 
most indispensable, as it greatly facilitates the pro¬ 
cess, and renders the time required much shorter, 
and secures a more intense and definite negative. 

Should the Daguerreotype be an imperfect one, 
as is frequently the case, of course all the imper¬ 
fections will be magnified, yet they can be entirely 
removed by the skill of the painter. 

The usual time required for taking the negative, 
life-size, will vary from a minute to ten minutes. 
In consequence of the large size and the long dis¬ 
tance of the ground glass from the lenses, the time 
of exposure in the camera is greatly augmented. 


IEON PHOTOGRAPHS. 


73 


IRON PHOTOGRAPHS, OR INSTANTANEOUS PRINT¬ 
ING OF NEGATIVES WITH A DEVELOPER. 


A process lias lately been introduced for print¬ 
ing negatives, with the use of a preparation of 
iron : hence the name Iron Photographs. This 
process, however, is a revival of an old one. It 
will be found very useful on many occasions, 
when expedition is required, as a negative may 
be taken and the positive picture printed, washed, 
toned, and dried in the same time as an ordinary 
Ambrotype. The process is as follows: 


Water . 

Citric acid 

Ammonia citrate of iron 
Concentrated ammonia 


1 pint. 

1 ounce. 
\ ounce. 
1 ounce. 


Mix these ingredients, and filter, and keep in a 
glass-stoppered bottle, excluded from the light of 
day. 

Apply this solution with a flat camel’s-hair brush 
on one side only of the photographic paper, care¬ 
fully laying it on even by brushing it in both di¬ 
rections. Then hang it up to dry in a dark room. 
When dry, it may be cut into suitable sizes for 
printing, and kept in a portfolio. The paper will 
assume a yellow color. Print with the ordinary 

7 


n 


THE TONING BATH. 


printing frames, but only for a short time, until the 
faint outlines appear. Remove from the printing 
frame, and apply the developing solution either by 
immersing in a flat dish, or pouring it on the pa¬ 
per after laying it upon glass. 

THE DEVELOPING SOLUTION. 

Nitrate of silver . . . . | ounce. 

Water.1 pint. 

Aqua ammonia.£ ounce. 

Filter the solution, and use over again. 

THE TONING BATH. 

Hyposulphite of soda .... 1 ounce. 

Water.1 pint. 

Nitro-muriatic acid . . . .10 drops. 

Wash the print well after developing, and place 
it in this toning bath for a short time, and the color 
will be changed from the deep reddish hue that 
it has assumed by the developer, to a purple color. 

The print must now be washed quickly in three 
or four waters, and placed between sheets of blot¬ 
ting-paper, and dried by the spirit-lamp. Should 
the tone not be desirable, a modification of the 
toning bath may be made by changing the propor¬ 
tions of hyposulphite and the addition of chloride 
of gold. The tone may be improved sometimes bv 


THE STEREOSCOPE. 


75 


exposure of the print for a few seconds to the di¬ 
rect rays of the snn. The addition of a saturated 
solution of gallic acid to the developer, in small 
quantities, will change the tone; but it cannot be 
used over again. Therefore only mix enough for 
each print as it may be required for use. 

The sepia tone may be given these prints by 
omitting the hyposulphite bath entirely, merely 
washing them in water thoroughly after develop¬ 
ing, but they will be more liable to fade. 

Photographs by this new process may be printed 
from a weak negative, and even an ambrotype im¬ 
pression will answer. The tone of the prints will 
not be equal to those printed by the old process; 
but sometimes expedition may be required, and 
Photographs can be taken and finished as soon as 
Daguerreotypes or Ambrotypes. 

THE STEREOSCOPE. 

Stereoscope pictures are considered by some 
operators as the most valued of the productions of 
the Photographic Art. If they are properly exe¬ 
cuted, they are indeed the most curious and in¬ 
structive of any branch of Photography, though 
they have not received that attention in this coun¬ 
try which they have merited,-—-mainly, however, 


76 


THE STEREOSCOPE. 


from the fact that few operators have devoted much 
attention to their production. The most pleasing 
are Photograph views. 

The stereoscope is an instrument invented by 
Prof. Wheatstone, for combining two slightly dis¬ 
similar images, so that out of two flat pictures one 
apparently real or solid object is produced—having 
all the projections, concavatures, and other pecu¬ 
liarities of the object itself, and standing out in all 
the strength and solidity of an actual tangible ob¬ 
ject. 

Hie reason why two flat images should produce 
the effect of solidity, and a slight consideration of 
the best means of producing these flat pictures, so 
that they shall produce in the most proper manner 
this extraordinary result, will now be given. 

Ordinary vision may be considered under the 
two heads of Monocular, or vision by one eye, and 
Binocular, or vision by two eyes. If we look 
through a telescope, microscope, or single opera- 
glass, or close one eye, we have monocular vision ; 
and by using two eyes, or spectacles, or double 
opera-glasses, we have binocular vision. 

Let us first consider monocular vision. If we 
close one eye and look at objects, we perceive them 
by their forms, sizes, colors, and gradations of light 


THK STEREOSCOPE. 


77 


and shade; and reason and experience tell us that 
these appearances vary as the objects are near or 
distant from us. We find that as objects recede 
they become smaller, apparently, in size, and this 
decrease in size is according to fixed laws, upon 
which perspective is based. We also observe that 
light and shade are less marked, the colors less 
brilliant, the details less clear, and the whole of 
the objects less distinct; and according to these 
changes do we estimate relative distances. Upon 
this principle the artist, in his landscape, paints his 
distant objects small, vague, and indistinct, while 
the foreground is brought out strongly with abun¬ 
dance of detail; and in proportion as this is done 
skilfully, we admire it as an imitation of nature. 
There is, also, another means of judging of distance. 
The eye, like other optical instruments, has con¬ 
stantly to change its focus, according to distances 
to which it is directed, and this change of focus is 
another means of estimating distance. 

Stereoscopic pictures may be taken either with 
one or two cameras. If the object be still-life, a 
statue, or edifice, then one camera will do better 
than two, for you may set the camera at any point 
and work away until you produce a satisfactory 
impression. Having obtained that, move the 
7 * 


78 


THE STEREOSCOPE. 


camera to the other point of view, and again work 
until you have achieved your object. But if you 
should have a picture of living objects to take, it 
is very desirable to produce the two pictures simul¬ 
taneously by two cameras; for taking a view of a 
street, for instance, where figures are accidentally 
introduced, you might have them in one picture 
and not in the other, or misplaced, unless yon ob¬ 
tained both pictures at the same time. But for 
portraits, though it is desirable to take both im¬ 
pressions at once, it is not necessary. And now 
comes the important inquiry, how far removed 
should the cameras be from each other in order to 
produce the best effect? or, in other words, how 
wide should the stereoscopic angle be ? This is a 
question often put, but not so easily answered. 
Strictly speaking, the natural standard may easily 
be cited, and an answer based on it be given. The 
eyes are 2J inches apart, and as each camera is to 
represent an eye, the centres of the two lenses 
should never be more than that separated. This is 
the strict theoretical doctrine laid down by Sir D. 
Brewster, nevertheless it is very seldom adopted in 
practice. It has been stated, that the more dis¬ 
similar the two stereoscopic images are, the greater 
the relief. Now, dissimilarity of image is obtained 


PHOTOGRAPH VIEWS. 


79 


by widening the distance between the two came¬ 
ras, and the greater the width or angle the greater 
the relief. As the stereoscope is chiefly valued 
for the production of this relief, the generality of 
stereoscopic pictures have been and are taken at 
too wide an angle, so that monstrous instead of 
natural relief is the result. If two pictures are 
taken at the same angle, no relief is obtained but 
that which is due to the magnifying power of the 
lenses. Increase the angle a little, and still greater 
relief is produced; increase the angle still more, 
and so on until you have passed the angle that 
produces natural relief, and reached that which 
produces monstrosity. 

Nearly all stereoscopes will have more or less 
of imperfection in the detail, owing to the tact that 
no two pair of eyes view the same pictures in the 
same focus. Hence we And some persons who 
cannot see the stereoscope pictures at all. 

PHOTOGRAPH VIEWS. 

Views by the Photographic process are attract¬ 
ing the attention of the artists in this country, and 
deservedly so. They are easily taken, because an 
ample supply of light is always obtained. The 
only objection is the necessity of transporting the 


80 


PHOTOGRAPH VIEWS. 


various solutions to the localities where the view 
is to be taken. This difficulty is overcome by the 
new dry processes which have been published 
lately. The albumen process on paper, page 61 , 
is highly recommended for views, as the tone of 
those pictures is more appropriate for this style of 
Photographs. 

It is not necessary here to enter into the details 
of the processes. Suffice it to say, that the same 
collodions are to be used, and the same developers, 
as in the process for taking portraits. The lenses 
of the ordinary camera, however, must be changed 
to convert it into a view camera. It is done 
simply by removing entirely the set of lenses in 
the rear of the tube, and placing the front lens in 
their stead, and reversing them. It will also be 
necessary to put a diaphragm, with a very small 
opening, in front of the tube, or near the location 
of the front lens. The time of exposure required 
in the camera with a small diaphragm, will neces¬ 
sarily be somewhat extended in order to produce 
vigorous negatives. The use of the diaphragm is 
absolutely necessary in order to correct the perspec¬ 
tive of near and distant objects. Also to cut off a 
portion of the diffused light, which would other¬ 
wise injure the negative. 


CHAPTER V 




ON THE PREPARATION OF NEGATIVE COLLODIONS- 

THE FORMULAS FOR NEGATIVE COLLODIONS-MIXING 

VARIOUS COLLODIONS-DISSOLVING THE IODIDES- 

DOUBLE IODIDE COLLODIONS-THE CELEBRATED GER¬ 
MAN PROCESS COMPLETE-THE NEGATIVE DEVEL¬ 
OPING SOLUTIONS—■ RE-DEVELOPING PROCESS-BI¬ 
CHLORIDE OF MERCURY AS A RE-DEVELOPER-FIXING 

SOLUTION-THE TONING BATHS—THE AMMONIA NI¬ 

TRATE OF SILVER SOLUTION. 

This chapter will be devoted to careful and de¬ 
tailed formulae for the preparation of the negative 
collodions, the developing solutions, and including 
all the various receipts necessary to be well under¬ 
stood in the practice of the Photographic Art. 

Indeed, this chapter will assume one most en¬ 
tirely of reference, and, as will be seen, it must 
frequently require mention in other portions of 
this work. 


82 


CADMIUM COLLODION. 


NEGATIVE COLLODIONS. 

For the preparation of negative collodions, we 
shall only give the proportions. The manner of 
dissolving the sensitive chemicals will generally 
be left to the judgment and experience of the 
operator. 

TIIE AMMONIA COLLODION. 

No. 1. Plain collodion ... 1 ounce. 

Iodide of ammonia ... 6 grains. 

Bromide of ammonia . . 3 grains. 

With the nitrate of silver bath neutral, and of a 
strength of 50 grains of silver to each ounce of 
water. 

CADMIUM COLLODION. 

No. 2. Plain collodion ... 1 ounce. 

Iodide of cadmium . . 7 grains. 

Bromide of cadmium . . 3 grains. 

Nitrate bath 50 grains to the ounce. 

This collodion is greatly in use in warm climates 

No. 3. Plain collodion ... 1 ounce. 

Iodide of potassium . . 8 grains. 

Bromide of ammonia . . 3 grains 

Bath of 40 grains to the ounce. 

This collodion is highly recommended for nega¬ 
tives when combined equally with the ammonia 



THE COMPOUND CADMIUM COLLODION. 


83 


collodion No. 1. It will be found to work in some 
baths when no other collodion will succeed. It 
may be used also for Ambrotypes. 

The practice of the most successful operators has 
taught them that the mixing of two collodions of 
diverse proportions, and made of different chemi¬ 
cals, will be found the most useful, and work with 
more certainty. The author himself would, there¬ 
fore, enjoin this hint upon those who may practice 
from the foregoing formulae. 

THE COMPOUND CADMIUM COLLODION. 


No. 4. Plain collodion ... 1 ounce. 

Iodide of cadmium . . 6 grains. 

Bromide of cadmium . . 3 grains. 

Iodide of potassium . . 5 grains. 

Tincture of iodine ... 5 drops. 


Nitrate bath of 50 grains to the ounce. The 
bath to be iodized with iodide of cadmium. 

Dissolve the iodide of potassium in water, and 
the cadmium in alcohol. 

The foregoing collodion is the one highly recom¬ 
mended for use, especially in warm latitudes. It 
is the most durable, and it improves by age, re¬ 
taining its working qualities for several months. 
The author has adopted the cadmium collodion, in 
many instances with great success, especially when 




84 


DOUBLE-IODIZED COLLODION. 


it is combined in equal parts with the ammonia 
collodion No. 1. 

To unite the sensitive ingredients with all collo¬ 
dions, it is recommended to dissolve them first in 
a small quantity of alcohol when they are soluble 
in that substance, and only use water when they 
will not otherwise dissolve. Always dissolve the 
bromides first, and add the iodides to the same 
solution. The iodide of ammonia and bromide of 
ammonia will dissolve in alcohol if a small quan¬ 
tity of water is added. Iodide and bromide of 
cadmium will dissolve readily in alcohol alone. 


A DOUBLE-IODIZED COLLODION 


The following formula is compounded in a dif¬ 
ferent manner from any other, and is one that is 
highly recommended. Prepare two bottles of col¬ 
lodion separately, as follows: 


No. 1. Plain collodion 

Bromide of potassium 
Iodide of potassium. 

No. 2. Plain collodion 

Iodide of ammonia 
Iodide of cadmium 


1 ounce. 

5 grains.) Dissolved 
8 grains, J in water. 

5 grains.) Dissolved 
3 grains, f in water. 


No. 1 will produce clear negatives, and perhaps 
rather weak. No. 2 will produce one very intense. 


TO SENSITIZE THE COLLODION. 


85 


But mix these two collodions in equal proportions 
after they have well settled, and the most perfect 
half-tints are obtained. Should it be desirable to 
produce a negative of more intensity, use a larger 
proportion of No. 2. In like manner, if a mixture 
of equal proportions produces too much intensity, 
then increase the quantity of No. 1. 

It will be found on using the two collodions 
above, separately, that as one will produce a weak 
negative, and the other a deep one, they can be so 
modified by uniting them in the proper proportions, 
that any degree of intensity may be obtained. 

THE GERMAN PROCESS. 

The following method of preparing negative col¬ 
lodion has been found to be very excellent in its 
results, and is known as the German process, so 
modified and rendered practical that any operator 
can work it successfully. 

The plain collodion is to be made with 10 ounces 
of ether and 5 of alcohol, rendered of the requisite 
consistency by the addition of gun-cotton. 

TO SENSITIZE THE COLLODION. 

Nitrate of silver dissolved in water . 50 grains. 

Iodide of ammonia dissolved in water 40 grains. 

Mix the two solutions, and wash the precipitate 

8 


86 


NITRATE BATII. 


in several waters; lastly, wash in alcohol. Then 
make the following compound : 

Alcohol at 95° . . . 2 fluid ounces. 

Iodide of ammonia . . 100 grains. 

Bromide of ammonia . . 40 grains. 

When dissolved, add the iodide of silver, and 
agitate the whole for several minutes; then filter 
through common filtering-paper, and add the liquid 
to 20 ounces plain collodion; agitate the collodion 
for a short time, and add to it as follows : 

Fluoride of ammonia ... 40 drops. 

Tincture of iodine .... 10 drops. 

This iodized collodion may be used in 12 hours, 
but is much improved by standing 3 or 4 days. 
The tincture of iodine used in the collodion is 
simply a saturated solution of alcohol at 95°, with 
pure crystals of iodine. 

NITRATE BATH. 

Distilled water .... 56 fluid oz. 

Nitrate of silver ... 4^ oz. by weight. 

Dissolve the silver in 8 oz. of the 56 oz. of water. 

Then add iodide of ammonia . 10 grains. 

White sugar or rock-candy . 120 grains. 

When dissolved, add the remainder of the water, 
and ih this condition let the bath stand 12 hours; 


RE-DEVELOPING. 


87 


then filter through common filtering-paper, add 
30 drops glacial acetic acid, and it is fit for use 


DEVELOPING SOLUTION FOR NEGATIVES. 


Pure soft water 
Sulphate of iron 
Alcohol at 95° 
Acetic acid, No. 8 


16 ounces. 
1 ounce. 

1 ounce. 

2 ounces. 


First dissolve the iron, then add the remaining 
properties, and when filtered it is ready for use. 


FIXING SOLUTION. 

This is simply any quantity of water saturated 
with hyposulphite of soda. 

RE-DEVELOPING. 

The negative is re-developed after it has been 
cleared up. Make a saturated solution of gallic 
acid in distilled water 1 ounce, then add 30 drops 
of the following solution : 

Distilled water .... 1 ounce. 

Nitrate of silver . . . .85 grains. 

When this solution is filtered, it may be used as 
follows:—After the negative has been fixed and 
washed, pour on it of the re-developing solution a 
quantity sufficient to cover the plate, and keep it 



8S 


NEGATIVE DEVELOPING SOLUTIONS. 


on until the required intensity is obtained, then 
wash with water and dry. In developing and re¬ 
developing, the solutions must be kept gently and 
constantly moving on the plate ; for if allowed to 
stand still, or to remain for any length of time on 
one portion of the plate more than on other parts, 
the plate is liable to lines or streaks. 

This re-developing process is not recommended, 
and if the collodion and bath are properly made, 
need never be adopted except it may be in dark 
weather, or when a child’s likeness is taken. For 
it will always be found that the resulting negative 
is never so well adapted for printing. There¬ 
fore, as soon as one finds that he cannot pro¬ 
cure negatives sufficiently intense in an ordinary 
exposure without re-developing, he may be assured 
there is some portion of his chemicals at fault. 
The first opportunity should be embraced to reme¬ 
dy the difficulty: first, by changing the nature of 
the nitrate bath, then the collodion and developing 
agent. 


THE NEGATIVE DEVELOPING SOLUTIONS. 
The developing solutions which are required for 
the negative pictures are not very numerous. The 
one mostly in use is composed of protosulphite of 


NEGATIVE DEVELOPING SOLUTIONS. 


89 


iron and acetic acid. With this alone, and the 
various modifications, all the different varieties of 
negatives are produced in this country. In Europe 
the developing solutions mostly in use are com¬ 
posed of pyrogallic acid. 

The developing process must*be thoroughly un¬ 
derstood before good results can he obtained. 
And, first, the nature of the collodion and the ni¬ 
trate bath must be known in order to form the de¬ 
veloper so as to produce the best results with that 
combination. The following formula will be the 
best adapted for working the neutral bath of 50 
grains to the ounce, with the ammonia or cadmium 
collodion, as prepared on page 82. 

Protosulphite of iron ... 2 ounces. 

Water.1 quart. 

Acetic acid, Ho. 8 .... 6 ounces. 

The iron is first dissolved in the water and fil¬ 
tered, and the acetic acid is added in the above 
proportions, but only as it may be required for 
use. It will not develop properly if mixed and al¬ 
lowed to remain for several hours. It may some¬ 
times require a small quantity of alcohol to cause 
the solution to flow evenly over the plate. But the 
addition of the alcohol lessens the intensity of the 
picture, therefore it is best to avoid its introduction 
8 * 


90 


RE-DEVELOPING PROCESS. 


as much as possible. Indeed, its use has been aban¬ 
doned by good operators. 

By increasing the quantity of iron, the develop¬ 
ing process proceeds more rapidly, and by lessen¬ 
ing the quantity of acetic acid it is modified. 

In order, therefore, to ascertain the requisite 
quantity of each ingredient that may be necessary 
for the particular combinations of collodions and 
baths, it will be proper to vary the proportions of 
iron and acetic acid. By a few changes in the 
proportions, and a few trials, nearly all varieties of 
collodion may be made to produce a good negative, 
if the bath is of the requisite strength and all other 
due proportions are Observed. 

There will, however, be found another formula 
for re developing negatives on page 91, which is 
given in addition to the foregoing mainly with a 
view to enable any person to obtain an intense 
negative, even if their chemicals are not properly 
combined. 


RE-DEVELOPING PROCESS. 

Frequently the negatives, after being developed 
by the foregoing solutions, will not assume that 
degree of intensity that is desired. They may still 


RE-DEVELOPING PROCESS. 


91 


be made more intense by continuing the process 
of developing in the following manner : 

Prepare two solutions as follows, viz. : 

No. 1. Water ..... 8 ounces. 

Protosulphite of iron . . 2 ounces. 

Dissolve the iron and filter. 

The second solution is as follows : 

No. 2. Nitrate of silver ... 1 ounce. 

Water . * ... 8 ounces. 

The re-developing is attended with some diffi¬ 
culty, as there is great danger in producing lines 
or streaks on the negative. 

The following cautions must be observed :—Af¬ 
ter the first process of developing, wash carefully 
with a large quantity of water, still keeping the 
plate in the dark room upon the levelling-stand, or 
in the hand, and pour over its surface enough of 
the solution No. 1 to nearly cover it; then quickly 
pour enough of No. 2 to mix with it upon the 
plate, which must have a little motion in order to 
flow over the whole plate as quickly as possible. It 
will be seen that no perceptible action takes place 
on the application of the iron solution; but as soon 
as the silver is added, a quick and energetic action 
commences, and the intensity is increased to any 


92 


BICHLORIDE OF MERCURY. 


desired depth. Great care must be observed not 
to continue this process too far, as the negative will 
become too intense, and full of lines and streaks. 
As soon as sufficient intensity is produced, wash 
quickly with water all traces of the developer. 

BICHLORIDE OF MERCURY AS A RE¬ 
DEVELOPER. 

Make a saturated solution of bichloride of mer¬ 
cury, and always have it in readiness in a glass- 
stoppered bottle. 

This can be used with great success in copying 
Daguerreotypes or Ambrotypes into negatives. 
The solution must be reduced considerably from 
the full strength of the saturated solution, but only 
the quantity required for use. The exact amount 
of dilution will depend upon the strength of the 
negative after it is developed by the protosulphite 
of iron developer. The plate is first developed in 
the usual manner as soon as it is removed from the 
camera, then carefully washed, and, before the 
light has fallen upon it, a weak solution of the bi¬ 
chloride of mercury is poured quickly over it. It 
will assume a deeper intensity immediately; and 
when sufficiently so, it is to be washed and fixed 
in the hyposulphite in the usual manner. All 


FIXING SOLUTION. 


93 


negatives, rendered intense by the application of 
bichloride of mercury, will assume a deep bluish- 
black color, which can be modified by changing 
the strength of this re-developing agent. 

FIXING SOLUTION. 

This is always a saturated solution of hyposul¬ 
phite of soda. 

The plate is to be thoroughly washed with water 
after developing, and laid carefully in a flat dish 
containing the hyposulphite of soda; and as soon 
as the iodide of silver is dissolved from the sur¬ 
face, which may be known by its becoming clear 
from that milky appearance, it must then be im¬ 
mediately washed entirely free from the least traces 
of soda. 

Then dried—or it may be varnished before 
drying, with a solution of gum-arabic, of the con¬ 
sistency of collodion which has been strained. Of 
course, the gum-arabic is to be poured over the 
surface in the same manner as collodion. 

TONING BATHS. 

The most useful and practical toning bath for 
paper, prepared with the ammonia nitrate of silver 
solution, is composed as follows : 


TONING BATHS. 


94 


Water.1 quart. 

Nitrate of silver .... 60 grains. 

Chloride of gold .... 60 grains. 

Or four bottles of the ordinary chloride of gold. 

Hyposulphite of soda ... 2 ounces. 

In preparing the foregoing bath, the following 
method should be adopted to insure the most com¬ 
plete success. 

Dissolve the hyposulphite of soda in about four 
or six ounces of the water taken from the quart, 
and the chloride of gold in about four ounces ot 
water, in separate bottles. Convert the 60 grains 
of nitrate of silver into the chloride of silver, by 
dissolving it first in three or four ounces of water, 
to which add 60 grains of common salt. Wash 
the precipitate in water three or four times, then 
pour off all the water, leaving the white precipitate, 
which is the pure chloride of silver. Now pour 
this solution of chloride of silver and hyposulphite 
into the remaining portion of the water, and add 
the chloride of gold in solution to it. It will as¬ 
sume at first a wine color, and may appear of a 
darker hue in a few moments. It is now ready to 
receive the printed picture from the printing 
frame, or it may be first immersed in salt and 
water, as described on page 64 . 

This toning bath is intended only for paper salted 


AMMONIA. NITRATE OF SILVER SOLUTION. 


95 


in the manner described on page 57, and silvered 
with the ammonia nitrate of silver solution, as de¬ 
scribed below. When not in use, it should be 
kept from the light in a glass-stoppered bottle. 
This bath, when once prepared in the foregoing 
manner, will improve by age and use, for the im¬ 
mersion of every print tends to increase the quan¬ 
tity of chloride of silver. A bottle of chloride of 
gold must be added occasionally, dissolved in six 
or eight ounces of water. 

PREPARATION OF THE AMMONIA NITRATE OF 
SILVER SOLUTION. 

Nitrate of silver.2 ounces. 

Distilled water.1 pint. 

Dissolve the silver in the pint of water, and pour 
out about two ounces into a separate bottle for 
future use. 

Now add of strong concentrated aqua ammonia, 
a few drops at a time, to the fourteen ounces solu¬ 
tion of silver and water. A dark brown precipi¬ 
tate is formed at first, which must be stirred with 
a glass rod, or, if in a bottle, it may be shaken. 
Continue to add more of the aqua ammonia, and 
stir the solution until it remains perfectly clear. 
Then add the two ounces which were reserved for 


96 AMMONIA NITRATE OF SILVER SOLUTION. 


use, as referred to above. This will cause the 
solution to be slightly turbid, which can be filtered 
perfectly clear, and it is then ready for use. This 
preparation must be kept entirely excluded from 
the light of day. 

This solution must be filtered, and only in suffi¬ 
cient quantity for immediate use. 




' 

I • . '• ■ ■ ■ 

CHAPTER VI. 

> 1 

DETAILS OF THE VARIOUS RECIPES IN THE PHOTO¬ 
GRAPHIC PROCESS-QUICK METHOD OF SILVERING 

AND PRINTING PAPER—BEST METHOD OF SALTING 

PAPER-TEST FOR GOOD COLLODION OR GUN-COTTON 

-VARNISH FOR POSITIVES ON PAPER—INSTAN¬ 
TANEOUS PRINTING PROCESS-NEW METHOD OF VAR¬ 
NISHING POSITIVES-TO RESTORE PRINTS THAT 

HAVE CHANGED COLOR—CLEANING GLASS PLATES 

-TO VARNISH NEGATIVES-DEXTRINE PASTE FOR 

MOUNTING PHOTOGRAPHS-GUM-ARABIC AND GELA¬ 
TINE-TO RESTORE SILVER FROM OLD SOLUTIONS- 

TO REMOVE WATER FROM COLLODION, AND TO 

PURIFY IT-TEST OF HYPOSULPHITE OF SILVER IN 

POSITIVE PRINTS-PRINTING VARIOUS BACKGROUNDS. 

This chapter will be devoted to the variety of 
practice in the Photographic Art. Many recipes 
will be given of the various forms of operating. 
Many will be found useful, and it is trusted that 
none will omit to note down the variety here be- 

9 


9S A QUICK METHOD OF SILVERING PAPER. 


cause they number so many. These must neces 
sarily be given promiscuously, from the fact that 
no process here written has any peculiar relation 
to another. 

AN EXPEDITIOUS METHOD OF SILVERING PAPER 
AND PRINTING THE SAME. 

Employ the ammonia nitrate of silver, the usual 
strength, and fasten the paper already salted upon 
a flat piece of board, by means of a pin or small 
nail, at each corner. Then, with a ball of clean 
cotton dipped in a solution of silver just filtered, 
and placed in an open flat dish, carefully rub the 
paper in all directions. Then dry it quickly by a 
fire in the usual daylight. As soon as it is dry, 
place it immediately in the printing frame, and 
expose to the sun’s rays. This will insure a picture 
with very little delay ; and if proper care has been 
observed in the operation, very excellent results 
may be obtained. Many successful artists have 
adopted the foregoing process with marked success. 

THE BEST METHOD OF SALTING PHOTOGRAPHIC 
PAPER. 

Always use the liydrochlorate of ammonia (sal 
ammoniac) in salting paper, and never over 90 


TEST FOR GOOD COLLODION OR GUN-COTTON. 99 


grains to the quart of water. A larger quantity 
impairs the tone. 

This preparation of sodium has been found to 
produce the best results, from the fact that it is in 
a purer state than any other known forms of salt. 
Hence it should take the preference of all others 
in the salting process. 

The addition of gelatine to the salting solution 
is strongly recommended, say about one grain to 
every ounce of water. The gelatine should be of 
the purest quality, and it should first be dissolved 
in warm water, and added to the salting solution, 
which itself must be warmed if in the winter 
season. 

Always filter the salting solution, so as to avoid 
any spots of dust or foreign substances that may 
collect in the dish. 

TEST FOR GOOD COLLODION" OR GUN-COTTON". 

There is a sure test, and one that it is well to 
remember and apply, in making collodion. After 
the gun-cotton is well dissolved in the ether and 
alcohol, and of the requisite thickness, pour a 
small quantity of the plain collodion on a piece 01 
glass, allowing it to drain off in the same mannei 
as in coating the plate with sensitized collodion. 


100 VARNISH FOR POSITIVE PHOTOGRAPHS. 

If the glass appears perfectly clear and transparent 
after it is dried and held up to transmitted light, 
it may be used for working collodion ; but if there 
should appear any milkiness or opacity on the sur¬ 
face of the glass, there is a fault of the gun-cotton 
or the alcohol or ether. Unless a perfect, clear, 
and transparent film is obtained, the collodion, 
when properly sensitized, will not furnish good re¬ 
sults. The addition of a small quantity of alcohol 
will sometimes remedy the defect. 

VARNISH FOR POSITIVE PHOTOGRAPHS ON 
PAPER. 

The best varnish for paper pictures is undoubt 
edly gum-arabic and gelatine. 

The gum-arabic must be allowed to dissolve 
thoroughly, then with warm water dissolve the 
gelatine, using only a small quantity. The propor¬ 
tions are as follows : 

Gum-arabic dissolved, and about the con¬ 
sistency of collodion .... 1 ounce. 

Gelatine ...... 2 drachms. 

Dissolve and filter through a cloth every time 
before using. To be laid on with a flat brush 
made of hogs’ bristles. 


INSTANTANEOUS PRINTING PROCESS. 


101 


INSTANTANEOUS PRINTING PROCESS. 

In dark, cloudy weather, or in winter, it is 
sometimes desirable to print positives, and the fol¬ 
lowing method will be found to be useful, as pic¬ 
tures can be produced in the least portion of day¬ 
light. It is as follows :—Float the papers each for 
five minutes in a solution of bichloride of mercury, 
prepared as follows: 

Saturated solution of bichloride of mercury 6 drachms. 

Water.1 pint. 

Silver it in a plain silver solution, 40 grains to 
the ounce of water. But it must be so done in a 
dark room, and the lamp carefully screened by 
means of a yellow glass. Expose only for about 
two to ten seconds in summer, and not more than 
a minute in winter, and then in a very subdued 
light. Of course the paper must be placed in the 
printing frame in a darkened room, and the frame 
itself carefully excluded from the light during the 
operation, except the time required to make the 
impression. Remove the picture still in the dark 
room, when it will appear very feeble, but it is 
seen to be developed by means of a solution of 
sulphate of iron, as follows : 

9* 


102 


TO RESTORE PRINTS. 


Sulphate of iron. % ounce. 

Water.1 pint. 

Glacial acetic acid . . . . * ounce. 

Develop until the picture is of the required 
deptli of color, then wash, and immediately fix with 
hyposulphite of soda; and finally, carefully wash, 
as in the ordinary process. 

NEW METHOD OF VARNISHING POSITIVE PHO¬ 
TOGRAPHS ON PAPER. 

Dissolve by a slow heat two ounces of white 
w r ax and add two ounces of common Yenice tur¬ 
pentine, and stir the mixture well. This, when 
cool, will be of the consistency of paste. After 
the Photographs are dried, spread this paste even¬ 
ly over the surface with a brush, and rub it with 
a piece of woollen flannel; hang it up to dry in a 
warm room for six or twelve hours. The smell of 
the turpentine soon leaves the print, and when dry 
it may be rubbed hard with dry flannel until a 
fine polish is obtained. This process of varnish¬ 
ing Photographs not only greatly improves them, 
but also preserves them from liability to fade. 

TO RESTORE PRINTS THAT HAVE CHANGED 
COLOR. 

Wash the print well, and immerse it in a solr 
tion prepared as follows : 


CLEANING GLASS PLATES. 


103 


Water.1 quart. 

Saturated solution of the bichloride of) d ro g 
mercury in muriatic acid . . .) ^ 

Remove the picture as soon as the desired pur¬ 
ple tone is attained, then carefully wash it in sev¬ 
eral waters, and dry. Prints that are greatly 
faded may be restored by this process equal to 
new. 

CLEANING GLASS PLATES. 

Some operators experience much difficulty in 
cleaning the glass plates for negatives. It is a 
matter which to some is no difficulty, and there¬ 
fore not much attention is paid to it by those who 
work successfully. In order to feel perfectly sure 
that the plates are cleaned, they may be first im¬ 
mersed in a solution composed as follows : 

Water .... 1 pint. 

Cyanide of potassium . \ ounce or 120 grains. 

Carbonate of potassium . 240 grains. 

By placing all new glasses in this solution for a 
few minutes all traces of grease or fatty substances 
are removed. They can then be washed, dried, 
and cleaned with alcohol in the usual manner. 
Glasses that have been used may be more readily 
cleaned by first laying them in water in order to 
remove the collodion. Then immerse them in 


104 


GUM-ARABIC AND GELATINE. 


the foregoing solution, wash, dry, and clean as 
usual. 

TO VARNISH NEGATIVES. 

Negatives may be varnished with the common 
white negative varnish, or the diamond varnish, 
sold by all the dealers in photographic materials. 

DEXTRINE PASTE FOR MOUNTING PHOTO¬ 
GRAPHS, 

The article known as dextrine is the best in use 
for pasting Photographs on card-board, from the 
fact that it is not so liable to cause them to fade. 
It is made simply by mixing a sufficient quantity 
of ground dextrine in hot water to render it of the 
consistency of ordinary paste. Then apply with a 
brush. 

GUM-ARABIC AND GELATINE. 

Gum-arabic.8 ounces. 

Gelatine . . . , , . ^ ounce. 

Mix and dissolve in hot water, and strain through 
a cloth before using. This is useful for varnishing 
the Photograph after it is pasted on the card-board. 

By the addition of a little sugar to the above, a 
paste is formed which may be used for pasting the 
Photographs on the card-board instead of the dex¬ 
trine. 


TO RESTORE SILVER FROM OLD SOLUTIONS. 105 


TO SEPARATE SILVER FROM OLD COLLODION 
SILVER BATHS, 

FROM THE NITRATE OF SILVER SOLUTION, USED IN PRE¬ 
PARING POSITIVE PAPER, AND FROM THE WATER 
THAT HAS BEEN USED TO WASH THE PRINTS 
BEFORE THE IMMERSION IN THE CHLO¬ 
RIDE OF GOLD, ETC. 

To the liquid containing the silver add a solu¬ 
tion of common salt, until no milkiness is percep¬ 
tible. This will precipitate the silver in the state 
of a chloride. 

After shaking well, allow this chloride of silver 
to settle, when the liquid should be poured away, 
and the precipitate washed several times in clean 
water. The larger part of the water should now 
be poured off, and a piece of clean zinc put into 
the bottle, to which add a few drachms of sulphu¬ 
ric acid. The mixture will immediately effervesce. 
The zinc is dissolved in a short time, and the chlo¬ 
ride of silver will be transformed into metallic 
silver, in the state of a black powder. 

There should be an excess of zinc in the liquid, 
in order to effect the transformation of all the chlo¬ 
ride of silver into metallic silver. This change of 
the chloride to the metallic state, commences first 
with that which is in contact with the zinc, which 


106 TO REMOVE WATER FROM COLLODIONS. 

becomes immediately black. It must now stand 
without shaking, until all the chloride of silver has 
become uniformly black, when the remaining zinc 
should be taken out, the liquid poured off, and the 
silver washed two or three times with water acid¬ 
ulated with sulphuric acid, and finally with clean 
water. 

The silver can be separated from the water by 
filtering through paper, and is pure. It can be 
used to prepare nitrate of silver. 

TO REMOVE WATER FROM COLLODIONS, AND TO 
PURIFY OLD COLLODIONS. 

A very simple method of removing water which 
may be found in collodion, is to add a quantity of 
common saleratus well dried—shake it well and 
allow it to settle : it will not only remove the wa¬ 
ter, but greatly improve the quality of the collo¬ 
dion. Many old collodions may be treated in this 
manner, and greatly benefited. 

The quantity of saleratus necessary to add to 
the collodion is not material—an excess will do 
no harm ; but it is recommended to pour off from 
the sediment of saleratus into another bottle, to 
allow it to become clear for use. 

The addition of albumen, or the white of an egg, 


PRINTING BACKGROUNDS OF VARIOUS SHADES 107 


to a quantity of collodion, and allowed to settle, 
is also of great benefit to it, especially if it has a 
tendency to remain thick and turbid. 

CHLOROFORM IN COLLODION. 

A few drops of chloroform may be added with 
advantage to collodion when it appears weak on 
the glass plate, and inclines to break on the appli¬ 
cation of water in washing off the developer. 

TO KNOW IF ALL THE HYPOSULPHITE OF SILVER 

IS REMOVED FROM THE PRINTS BY WASHING. 

When the prints are supposed to be well washed 
and hung up to dry, allow a few drops of the wa¬ 
ter from them to fall into a solution of bichloride 
of mercury. If a white precipitate is formed, the 
print is not well and sufficiently washed. It will 
in process of time fade or change color. They 
should be washed again until no precipitate is seen. 

PRINTING BACKGROUNDS OF VARIOUS SHADES. 

Any negative with a dark background may be 
printed with a light one, or vice versa / or if an 
imperfection happens to occur on the background, 
it may be entirely removed by the printing pro¬ 
cess, as follows : 

First print an impression, and withont toning it, 


108 PRINTING BACKGROUNDS OF VARIOUS SHADES. 


remove it from the printing frame, and cut out the 
figure of the head and body with a knife or small 
scissors; in fact, leaving entirely the background 
separate from the portrait. Fasten this background 
of paper so cut out around the edges, by means of 
gum-arabic, upon the negative, and print only the 
portrait, on another paper of course, leaving the 
background perfectly white. Now remove this 
print, and cover the portrait so printed with the 
piece of paper which was cut out of the first print. 
This will now r become blackened by the action of 
light, and it must be attached to the second print 
only at the bottom by gum-arabic. Place it in 
the printing frame, which contains a clean glass, 
and expose the background only to the action of 
light. Of course any degree of shade of back¬ 
ground may be attained, and gradations of the 
light or dark portions can be also given by hold¬ 
ing a cloth or piece of card-board over such por¬ 
tion as may be desired of a light color. The card¬ 
board should be slightly agitated to prevent any 
sharp lines on the print. 

Figures of various kinds can be represented on 
the background by means of lace-work, or any 
open work laid over the background in the second 
process. 


PRINTING FRAMES. 


109 


In printing these extra backgrounds, there will 
necessarily be a sharp outline around the edge of 
the hair and drapery, which can be removed by 
retouching with india ink, after the picture is 
mounted. 

PRINTING- FRAMES. 

There are numerous methods and apparatus in 
use for holding the negative and paper during the 
printing process. The common printing board is 
perhaps the most useful. They can be bought at 
any of the dealers in photographic materials. 

Another kind called pressure frames are rather 
more expensive, but possess the advantage over 
the common printing board of giving the operator 
an opportunity to inspect both ends of his picture 
during the printing process. Every operator should 
possess more than one of these printing frames, as 
the saving of time will amply repay him if he has 
many prints to make. 

Another cheap, convenient, and equally good 
arrangement for holding the negative and paper, 
is to take three glasses—say one a full size, being 
the one having the negative upon it; and then 
take two glasses, each just half the size of the 
negative, and have a piece of very thick heavy 
cloth, cut the size of the negative glass, which can 
10 


110 


PRINTING FRAMES. 


be put between it and the two half glasses, and 
then they can be held together by means of the 
common spring clothes-pin. The advantage of the 
two glasses at the back is, that one can be entirely 
removed while the picture is being examined, and 
afterwards returned without in the least moving 
the impression. 



CHAPTER VII. 

HINTS AND SUGGESTIONS IN REGARD TO THE NEGATIVE 

PROCESS-IMPERFECTIONS .PECULIAR TO NEGATIVES 

-HOW TO AVOID THEM-CAUTIONS IN TAKING NEG¬ 
ATIVES-HINTS AND SUGGESTIONS IN REGARD TO 

PRINTING POSITIVES ON PAPER-CAUTIONS IN RE¬ 
GARD TO THEM-IMPERFECTIONS FOUND IN POSI¬ 
TIVES-HOW TO AVOID THEM. 

The art is so full of details in the manipulations, 
that it is deemed proper to embody in a chapter 
many hints and suggestions that are very necessary 
to be well studied by those who adopt the line of 
practice laid down in this work. In that portion 
of this Manual devoted to the Ambrotype, will be 
found a chapter devoted to the failures, &c .; also 
containing many valuable hints in regard to posi¬ 
tives on glass—all of which are valuable as a ref¬ 
erence in the negative process. 


112 


RETOUCHING NEGATIVES. 


HINTS AND SUGGESTIONS IN REGARD TO 
NEGATIVES. 

The addition of a small quantity of white sugar, 
dissolved in water, to the nitrate bath, will some¬ 
times increase the intensity of the negative. 

When the collodion will not adhere to the plate 
on removal from the bath, add a few drops of 
water to a sample of collodion, and it will gener¬ 
ally remedy the defect. If the defect is removed 
in a small quantity, add water to the whole. 


RETOUCHING NEGATIVES FOR PHOTOGRAPHIC 
VIEWS. 

In photograph views, the sky is not usually very 
truthfully represented. It almost always appears 
too dark when representing a thunder tempest, or 
when the landscape, or whatever may be taken, 
betrays a shining sun. This unnatural effect may 
be overcome in the following manner :<—The black 
varnish which is used for Ambrotypes, can be re¬ 
duced by the addition of spirits of turpentine, and 
with a small brush spread it over the entire sky. 
If it still prints too dark, give it another coat; and 
if a white is desired, the negative must be made 
entirely opaque. 


ENGRAVING THE NAME UPON A NEGATIVE. 113 


Beautiful clouds and sunset effects may be intro¬ 
duced into the photographic landscape, and at the 
expense of very little time. The tempestuous 
storm, the dark and dismal cloud, with the vivid 
flash of lightning dancing upon its thundering bo¬ 
som, the rainbow and other scenes of grandeur and 
beauty, may be represented in the photographic 
drawing. 

RETOUCHING- NEGATIVE PHOTOGRAPHS. 

This is best accomplished with india ink, and 
some other lighter color to modify it; the black 
spots may be retouched to their proper transpa¬ 
rency or opacity. Shadows, if too deep or too 
feeble, may be corrected; defects in the eye also, 
if shaded too deep, may be corrected by a careful 
hand, guided by the use of a small camel’s-hair 
pencil. 

ENGRAVING THE NAME UPON A NEGATIVE. 

Any name may be engraved upon the negative 
by marking it carefully with a pointed instrument 
—such as a needle or the point of a knife—before 
it is varnished. When printed, this will appear 
very distinct. 


10 * 


114 


IMPERFECTIONS OF NEGATIVES. 


IMPERFECTIONS COMMON TO NEGATIVES. 

The more frequent imperfections are those termed 
fogging, streaking, and spotting of the negative 
plate. 

The causes are— over-exposure in the camera , 
over-developing, impure chemicals , and light gain¬ 
ing access to the chemical-room , camera , or plate- 
holder. 

The over-exposure in the camera is easily obvia¬ 
ted by lessening the time. The over-developing 
can be obviated by lessening the time also, and 
weakening the developer—changing the quantity 
of acetic acid. 

The impurity of the chemicals in the collodion 
can only be ascertained by having a sample of 
collodion known positively by previous experi¬ 
ment to be of the good quality. Make a trial of 
this, and compare results. 

Light gaining access to the Chemical-room , 
Plate-holder , Camera, dec. — After coating the 
plate as usual in the dark room, hold it in your 
hand for a few moments; then, without taking it 
out to the light, pour on the developer. If the 
plate blackens, white light gains admission to your 
chemical-room. Make it dark&r. If the cause is 
8 


SPECKS UPON THE PLATE. 


115 


nrt here, coat another plate, put it in the plate- 
holder, place it in the camera, and, without taking 
the cap off the tube, raise the slide, and expose 
the plate for a few seconds in the darkened cham¬ 
ber of the camera—remove it to the dark room, 
and pour on the developer ; if it blackens, stop the 
leaks in the camera. If this does not obviate the 
trouble, coat another plate, put it into the plate- 
holder, place it in the camera, and, without re¬ 
moving the cap or raising the slide , leave it a few 
seconds as before; remove to the chemical-room, 
pour on the developer; if it blackens, the plate- 
holder is not tight. These trials will generally dis¬ 
close the cause of fogging. 

Sometimes the cause may be removed by adding 
acetic acid to the bath when all other means fail. 
This is an excellent remedy for fogging generally, 
and will, in nine cases out of ten, obviate the diffi¬ 
culty. 

Specks upon the Plate .—These may occur from 
the use of collodion holding small particles in sus¬ 
pension, or from too much acid in the developer. 
Never use a sample of collodion until it has stood 
long enough to settle perfectly clear. All new col¬ 
lodions must be set aside where they will be undis¬ 
turbed twenty-four hours before using. 


116 SILVERY APPEARANCE OF NKGATIVES. 

Oily Spots or Lines up and down the Plate .—• 
These occur when the plate is taken out of the sil¬ 
ver bath, before the ether and alcohol have been 
washed away. Marks of the same shape occur, 
also, when the developer does not amalgamate 
readily with the surface of the him; in which case 
add a little alcohol to the developer. 

SILVERY APPEARANCE OF NEGATIVES. 

Negatives sometimes have an appearance of sil¬ 
ver under the collodion after developing, which is 
owing mainly to the imperfect cleaning of the 
plate. This is more likely to occur when old plates 
are used. To avoid this, use nitric acid diluted and 
rotten-stone in the next cleaning. Glass which is 
rusty will always present this silvery appearance. 
It must be discarded. 

Transparent Markings of various Kinds .— 
These sometimes resemble fern-leaves, and other 
vegetable forms: add a few drops of chloroform to 
the collodion. Dark spots of various forms may be 
caused by the collodion setting too long—or by 
pouring on the developer entirely on one place— 
or by having the developer too strong. Apply 
the remedies before recommended. 


STRENGTH OF THE NITRATE BATH. 117 

THE STRENGTH OF THE NITRATE BATH. 

The last and highly important imperfection is 
often caused by the want of silver in the bath. A 
weak bath is indicated by certain parts of the plate 
having the appearance of transparency, as though 
no collodion was upon its surface. Test the bath 
with the hydrometer to ascertain the quantity of 
silver, and add enough to render the quantity 
equal to that required for the collodion, to be used 
generally 50 grains to every ounce of water. 

There are, perhaps, many other imperfections 
in the negative process, which, were they fully 
enumerated here, would tend most likely to mislead 
rather than give information. 

It is hoped that the practice of the art, as laid 
down in the pages of this work, will not cause so 
many failures as will deter the persevering student; 
assured that although the process is fraught with 
difficulties, it has been entirely overcome by many 
successful artists, the evidence of which is afforded 
by their works. 

HINTS AND SUGGESTIONS IN PRINTING POSI¬ 
TIVES ON PAPER—PHOTOGRAPHIC PAPER. 

The quality of paper is very important, and 
must be of an even texture, and free from holes 


118 


WASHING POSITIVE PRINTS. 


and spots when held np to transmitted light. One 
side must have a satin appearance when viewed at 
an angle across the surface. 

There is one side only of good photographic 
paper which will receive the best impression, and 
that may be known by examining it carefully. The 
one side will appear to have lines crossing, each 
resembling fibres in woven cloth. The opposite 
side will appear to show like satin, which is the 
one to receive the silver. 

Avoid dust in the room where the paper is sil¬ 
vered and hung up to dry. Especially be careful 
to exclude it from the silvering solutions by fie- 
quent filtering. 


WASHING POSITIVE PRINTS. 

In washing positive prints great care must be 
observed that the dishes used are free from any 
foreign substance, as that would invariably cause 
spots or stains. The dishes mostly in use are 
made of glass or vulcanized india-rubber. With 
large prints, wooden dishes may be used if they 
are well varnished with gum shellac varnish. 

The use of warm water to 
finish the washing is highly recommended, as in 


RETOUCHING PHOTOGRAPHS. 


119 


that state the hyposulphite of silver is much more 
soluble. 

The value of the use of the chloride of gold in 
the toning bath has never been sufficiently esti¬ 
mated. It adds to the tone all the beauty so much 
desired. An increase of the quantity in the to¬ 
ning bath will frequently overcome the many dis¬ 
agreeable colors which are so often found in prints 
after washing. Its use in the finish of the Da¬ 
guerreotype was considered indispensable. Those 
who seek for the most beautiful Photographs must 
use large quantities of this metallic salt. 

EETOTTCHING PHOTOGEAPHS. 

All Photographs, when mounted, can be im¬ 
proved by slightly retouching them with a small 
camel’s-hair brush dipped in india-ink. Especially 
the eyes, lips, &c., which frequently will not print 
clear and distinct. The ink can be ground on a 
piece of glass, using only a small quantity at a 
time. By mixing a small portion of carmine with 
the india-ink, any shade may be produced to cor¬ 
respond with the color of the print, and all the 
white spots that so frequently appear on the back¬ 
ground and drapery can be removed. A slight 
touching of the ink on the shadows of the nostrils 


120 


IMPERFECTIONS IN POSITIVES. 


and lips will add greatly to the beauty of the Pho¬ 
tograph. 

Should any black spots require removal, use 
white water-color paint mixed with india-ink. This 
retouching will require only a short time, and must 
be done before varnishing. 

IMPERFECTIONS FOUND IN POSITIVES ON 
PAPER. 

If the print has a faded and yellow appearance, 
the hyposulphite is acid, or too old and weak; or 
the print has been left in it too long a time, or has 
been washedToo slowly. Add more chloride of 
gold; if acid (which may be known by testing 
with litmus paper), add a few drops of aqua am¬ 
monia. 

If not sufficient contrast exists between the lights 
and shadows, the print being pale, and without 
vigor, then the nitrate of silver solution is too weak 
in proportion to the salt solution. Strengthen the 
silver solution. 

If too much contrast exists between the lights 
and the shadows, and the details are not marked in 
the latter, then increase the proportion of salt. 

If pale spots appear, then them has been insuf¬ 
ficient absorption of the nitrate of siber by the 


IMPERFECTIONS IN POSITIVES. 


12J 


paper; this may result from the unequal texture 
of the paper, or from the silver being too weak. 

Black spots are caused by dust on the surface 
of the silver solution, organic matter on the paper, 
or metallic particles in the paper. Be careful to 
avoid them. 

If the prints after drying have a mottled appear¬ 
ance in the high lights, they have not been suffi¬ 
ciently toned. The prints should always be held 
up and examined by transmitted light before re¬ 
moving them from the toning bath. 

If the bath is too weak, these spots cannot be 
removed except by adding more hyposulphite and 
chloride of gold to the bath. 

These imperfections noticed as found in posi¬ 
tive pictures on paper, probably do not include 
all, but those which are most likely to be encoun¬ 
tered in the practice of the art. They are given 
as material for reference during the practical op¬ 
erations of the photographer, and should be often 
referred to in his leisure moments. 

11 









' ■ 

’ 

■' ' •;« ‘ . •'••• 

' 




. 


























* 










THE 


AMBROTYPE MANUAL. 

PART II. 

PRACTICAL DETAILS 

OF THE 

AMBROTYPE PROCESS. 


POSITIVE PHOTOGRAPHS OJf GLASS. 



' 

’ . 

. 



CHAPTER VIII. 


TIIE CAMERA-rLATE-HOLDERS NECESSARY FOE THE 

CAMERA-PREPARING THE GLASSES-PLATE BLOCKS 

FOR HOLDING THE GLASSES-CLEANING SUBSTANCES 

—CLEANING THE GLASSES-CLEANING OLD GLASSES 

-REMOVING THE VARNISH-HOLDING GLASSES AFTER 

THEY ARE CLEANED-GLASSES USED A NUMBER OF 

TIMES-QUALITY OF GLASSES NECESSARY FOR AM- 

BROTYPES 


It is presumed that most persons in whose hands 
this hook may fall, or at least those w t 1io see it 
after having sought it* are acquainted with the 
Daguerreotype process, and possess a camera, and 
all the apparatus necessary for Daguerreotypes. 
It is needless to add to those who have had any 
experience, that a good camera is indispensable, 
much more so than in the Daguerreian process. 
Without this necessary auxiliary, all labor will be 
but in vain. 

An entirely new plate-holder for the camera is 
requisite, known as photographic frames, for hold¬ 
ing the glass. It is made in such a manner that 

11 * 


126 


PHOTOGRAPHIC PLATE-HOLDERS. 


the glass plate will rest on each corner on glass 
itself. These holders are absolutely indispensable, 
because all attempts to use the old Daguerreian 
plate-holders will invariably produce bad results. 
These plate-holders can be obtained of any of the 
dealers in materials for the art. 

The glasses, of course, have sharp edges, wdiich 
may be filed off with a coarse file, or ground on a 
grindstone, to avoid cutting the fingers in hand¬ 
ling. The wooden vise, which has been so often 
itsed for Peck’s patent blocks, will answer a very 
good purpose for holding the glasses while clean¬ 
ing them. It is better to procure two such vises 
—one for the acid and rottenstone, and the other 
for the alcohol. 

The place where the ends of the glasses rest 
may be slightly raised, so that in passing the can¬ 
ton-flannel, or buff, over the glass, it shall pass en¬ 
tirely over the end or sides. 

The plate vise may be dispensed with, and a fiat 
pine board may be used, covered with canton-flan¬ 
nel, of a size longer than the glasses that are to be 
cleaned. On the edge of this board must be nailed 
a narrow piece of hard wood, raised just above the 
edge, but not so high as the thickness of the glass 
to be cleaned. Now, by pressing the glass against 


CLEANING THE GLASS PLATES. 


127 


this edge with a small stick of hard wood, or the 
left hand, the glasses will he held, and readily 
cleaned with the other. 

New glasses require cleaning first only with 
alcohol, or with alcohol and rottenstone. Common 
wdiiting has been found to answer the purpose even 
better than rottenstone. They are to he rubbed 
with canton-flannel, or tissue-paper, and then dried 
with the same substances. The plate must be 
rubbed in lines, round and round, and on both 
sides. It does not require as long rubbing as the 
Daguerreotype plate. After which, it is necessary 
to butf them with two buffs, like a ball covered 
with soft buckskin. This ball may be made of 
cotton, and covered with buckskin, with a handle 
made of the ends of the skin, drawn over, and tied 
with a piece of twine. The first ball, or tampon , 
may be rubbed with rouge, or rouge and calcined 
lampblack. The second is to be kept free from 
all polishing substances. Rub first with the rouge 
buff, and finish quickly with the dry one. By 
slightly breathing on the surface, one can readily 
ascertain if the plate is clean, which will be indi¬ 
cated by a uniform condensation of the moisture. 
Both sides of the glasses should he rubbed; also 
the edges of all should be wiped with a small 


128 


BOXES FOR HOLDING GLASSES. 


piece of canton-flannel, before using, to remove 
any of the polishing substances which might ad¬ 
here to the glasses. 

Glasses which have impressions on them, and 
are dried, should first be placed in a flat dish con¬ 
taining water, or water and nitric acid, enough to 
make the liquid act slightly on the silver. They 
are then to be rubbed with rottenstone, or whiting, 
mixed with water and nitric acid—about two 
drachms of acid to four oimces of water. They 
are then to be thoroughly washed with pure water, 
and allowed to stand a few moments, or they may 
be immediately wiped dry with a clean towel. 
They are now ready for the alcohol and the can¬ 
ton-flannel process, wdiich is effected without any 
application of rottenstone or whiting, although 
a small quantity of either may be used w T ith the 
alcohol. 

After the plates are buffed, they may be placed 
on their edges in some old plate-boxes which have 
done service in the Daguerreian art. The grooves 
can be cut' out a little wdder than those for plates, 
and then placed on the shelves near the bath, or 
laid on the edges ready for coating. 

Old pictures which have been fitted up with the 
various varnishes require more care in cleaning 


VAPORS OF CHEMICALS AVOIDED. 


129 


They should he first placed in a strong solution ot 
spirits of turpentine and alcohol, and allowed to 
remain there until the varnish becomes softened. 
Then they should be submitted to the acid and 
rottenstone, and finished in the same manner as 
glasses with pictures without varnish. It is well 
to place all pictures which are failures in water as 
soon as possible, rather than to allow them to dry 
with the collodion on them. 

The towel used for wiping the glasses should 
be used only for that purpose, and no soap, or any 
other substance, should be allowed to soil it. 
When washed, it should be only with soda, in¬ 
stead of soap, to insure more complete success. 

The glasses should always be kept away from 
any dampness and dust. Great care must be taken 
that no vapors of chemicals should come in con¬ 
tact with glasses after they are cleaned. Other 
substances may be employed, such as tripoli pow¬ 
der, photogene, &c., care being taken to remove 
all the polishing substances before the plate goes 
into the bath. 

Glasses, unlike Daguerreotype plates, may be 
cleaned and used a great number of times; but 
they will require more careful polishing after a 
few impressions are made, and it has even been 


130 


QUALITY OF GLASSES. 


asserted by some operators that they will actually 
loose their sensitiveness after a few trials. It is 
well, therefore, not to use the glasses too long; 
yet the practice is so variable, that some kinds of 
glass may answer, whilst others may be useless. 

The finest quality of plate glass is best adapted 
for Ambrotvpes, and that which is free from color 
will produce the most pleasing effects. Many per¬ 
sons, however, use an inferior quality of glass, 
which of course is a great detriment to their pic¬ 
tures. The thickness of the glass is of some con¬ 
sequence. It should not be too thick, else the 
picture will appear unnatural. A medium thick¬ 
ness is to be obtained, if possible. 


CHAPTER IX. 


APPARATUS FOR AMBROTYPE8-CHEMICALS USED- 

SUBSTANCES FOR FINISHING THE PICTURE-PREP¬ 
ARATION OF THE NITRATE BATH-TO IODIZE THE 

BATH-FILTERING PROCESS-ADDING ACID-NEU¬ 
TRALIZING THE BATH-FULL DIRECTIONS FOR KEEP 

LNG THE BATH IN ORDER-RENEWAL OF THE NI¬ 

TRATE OF SILVER. 

The following are the various utensils, or appa¬ 
ratus, necessary for the Ambrotype process: 

APPARATUS. 

One gutta-percha bath. ^ 

One dipping rod—glass or gutta-percha. 

One flat dish for fixing solution, either of earthenware or 
gutta-percha—the latter preferred. 

One large earthen dish for the developing solution. 

One bottle for the developing solution, capable of holding 
two quarts. 

One four, or six ounce graduated glass. 

One large bottle, with a glass stopper, capable of holding 
more than the silver bath, and to be used exclusively for that 
purpose. 

Three glass or gutta-percha funnels, to be used respectively 
for the nitrate of silver, the developing solution, and the fix¬ 
ing bath. 


132 


AMBROTTPE CHEMICALS. 


One actino-hydrometer, for testing the nitrate bath. 

A new and distinct plate-frame, for holding the glass 
plates when placed in the camera. 

One pair of scales, containing apothecaries’ and avoirdu¬ 
pois weights. 

Cotton for filtering. 

Two or three glass rods. 


The following chemicals will be found necessary: 

CHEMICALS. 


Nitrate of silver (crystallized). 
Protosulphate of iron. 

Acetic acid. 

Alcohol 95 per cent. 

Cyanide of potassium. 
Hyposulphite of soda. 


Iodized collodion.* 

Nitric acid, chemically pure. 
Glacial acetic acid. 
Litmus-paper, bine and red. 
Iodide of potassium. 
Carbonate of soda. 


The following substances are required to finish 
the picture: 


REQUISITES EOR FINISHING. 


White varnish. 
Black varnish. 
Amber varnish. 


Gum demar varnish. 
Venetian or Canada balsam. 
Daguerreotype sealing-paper. 


Being supplied with all the various utensils and 
chemicals, the first and most important prepara 
tion would be the nitrate of silver bath, and herein 


* The preparation of the collodion will be found in Chapter XI. 



PREPARATION OF NITRATE BATH. 183 

lies one of the main secrets of success in all the 
practice. Unless the hath be properly prepared 
at the outset, with all care in manipulating and in 
the compounding of the other chemicals, all the 
productions will he failures. 

The hath once in a proper state, success is much 
more easily attained. 

First measure the bath by filling it with water, 
then pouring it into the graduated glass to ascer¬ 
tain the exact number of fluid ounces which the 
bath contains. To every ounce of water in the 
bath must be added forty grains of nitrate of silver, 
pure and crystallized, and free from acid. Test a 
small quantity of nitrate of silver in solution with 
blue litmus-paper. If any acid is present, the 
paper instantly becomes red. 

By calculation the quantity required for the 
bath can easily be ascertained, as there are 480 
grains to every ounce. If the bath contains two 
quarts, or 64 ounces, it will require exactly 2,560 
grains, or 5J ounces of the nitrate of silver. Thus: 

64 X 40 = 2560 -r 480 5j ounces. 

Procure distilled water in all cases, if possible; 
but if this be not always obtainable, pure soft 
water, which has been boiled and filtered, mav 
12 


134 IODIDE OF SILVER FOR THE BATH. 

answer. In no case use water that has any trace 
of lime or soda. 

As a test of pure water may not always be at; 
hand, it is well to take a few grains of nitrate of 
silver, and drop it into an ounce of the water be¬ 
fore using. Should it appear to dissolve, or throw 
dowm any precipitate, you may be assured that the 
quality is not good, and it will not answer for the 
bath. 

Dissolve all the silver, except one ounce, in the 
water, which must be placed in the large glass- 
stoppered bottle appropriated expressly for the 
bath, reserving, also, about four or six ounces of 
the water intended for the bath, which may be 
placed in the graduated glass. Into this put the 
extra ounce of nitrate of silver, and dissolve. 

TO MAKE THE IODIDE OF SILVER FOR THE 
BATH. 

Take about twelve grains of iodide of potassium, 
and dissolve it in one ounce of w T ater, and add to 
it two drachms of the nitrate of silver solution 
from the large bottle. Avoid strong daylight in 
this process. Immediately there will be seen a 
yellow precipitate, which is the iodide of silver. 
This must now be well v r ashed three or four times 


FILTERING PROCESS. 


135 


with soft water, by adding eight or ten ounces at 
a time, and allowing it to subside, when the super¬ 
fluous water must be poured off; then add fresh 
water until all the potassium is washed out, leav- 
ing the pure iodide of silver. 

This iodide of silver is now to be poured into 
the six ounces of water in which one ounce of ni¬ 
trate of silver was dissolved. Stir it with a glass 
rod, and after it is partially dissolved, pour the 
whole into the large bottle containing the solution 
for the bath; shake it well, and filter through the 
funnel expressly reserved for the nitrate bath. 

This amount of iodide of silver will be required 
for a bath containing two quarts. The same pro¬ 
portions must be observed for baths of other di¬ 
mensions. 

FILTERING PROCESS. 

The best filter is composed of clean cotton, 
which must first be saturated with alcohol, and 
afterwards thoroughly washed out with water. 
This filter is preferable to all others for photo¬ 
graphic purposes; and in all cases where filtering 
is required, it is strongly recommended. 

The color of the bath should at first appear to 
be a milky hue, but after filtering once or twice 


136 


TESTING THE BATET. 


(as may be necessary), it should be clear as water 
There will be a portion of the iodide of silver 
which will not be dissolved. This must in all 
cases be filtered out, and the solution rendered 
perfectly clear before it is ready for use. 

After the bath is clear, test it with the hydrom¬ 
eter made expressly for the purpose, to ascertain if 
it be of the required strength—viz., forty grains to 
the ounce, which will be indicated on the scale 
graduated according to the table in the book ac¬ 
companying the hydrometer. 

The bath must also be tested with blue litmus- 
paper, by cutting off a small slip, and dropping 
one end of it into the solution. If it turns red, you 
have already a portion of acid. 

A small quantity of acid is necessary to produce 
the required tone and effect of the collodion, and 
also to remove any streaks that may sometimes 
present themselves. 

Two kinds are used, chemically pure—viz., ni¬ 
tric and glacial acetic acid. The former has been 
said to produce the finest white tones, yet it is 
more liable to change the nature of the bath, while 
the latter is said to possess a more uniform action, 
and to work with great regularity. 

The quantity used, however, of either is \evy 


NEUTRALIZING THE HATH. 


137 


small—not over eiglit or ten drops to be added at 
first. Should lines appear running up and down 
the plate, five or six drops more may be added. 
Of course only one kind of acid is to be used at a 
time. 

TO NEUTRALIZE THE NITRATE OF SILVER BATH. 

In order to neutralize the bath, dissolve half an 
ounce of carbonate of soda in two ounces of water; 
then pour into the solution a drachm or two at a 
time, quickly shaking the bottle. The bath will 
assume a whitish appearance, which will disap¬ 
pear on shaking the bottle. When a sufficient 
quantity of the soda has been added to neutralize 
all the acid, this wdiitish appearance will remain 
after shaking the bottle. As soon as that is seen, 
there can be no more soda added without injury 
to the bath. Try the litmus-paper, and when 
enough soda has been added, it will of course re¬ 
main unchanged. 

Sometimes caustic potash is employed to neu¬ 
tralize the bath, when a brown precipitate falls, 
Instead of a white. If nitric acid has been used, 
and one desires to employ the glacial acetic in¬ 
stead, it can be easily neutralized by the foregoing 
process, and the latter acid added. 

12 * 


138 


KEEPING THE BATH IN ORDER. 


Sometimes a perfectly neutral bath will succeed 
well in the Ambrotype process, and it is even rec¬ 
ommended at first to be used in that state before 
adding the acid—the acid being added only when 
the lines make their appearance on the plate. 

The bath should always be kept as much ex¬ 
cluded from the light as possible, and also covered, 
to avoid collecting dust and other foreign sub¬ 
stances. It may remain constantly in the gutta¬ 
percha dish without serious injury. Many opera¬ 
tors prefer pouring it into the bottle after the 
labors of the day, both for safety from accident, 
and also on the score of cleanliness. 

Avoid the introduction of any vegetable or me¬ 
tallic substance into the bath, or the slightest par¬ 
ticle of alkaline ingredient, in any form. It fre¬ 
quently happens that particles of collodion will 
leave the plate, and be found floating in the bath. 
Whenever this occurs, it is necessary to filter it. 

The gutta-percha bath should be arranged in a 
square box or frame, at an angle of about thirty 
degrees, or, what is better still, a covered box, 
that should open when desired, and cover the 
whole when not in use. A dark cloth may also 
be employed to cover it. 

There should always be a sufficient quantity of 


BOX FOR THE PLATE-HOLDER. 


139 


the nitrate of silver solution reserved in the large 
bottle to keep the bath full during the time of 
operating. An ounce of nitrate of silver, or a less 
quantity, may be dissolved in the bottle, without 
the addition of the iodide of silver, as in the first 
preparation of the bath. 

Some operators flow their bath only in the 
morning, in order to remove the dust which col¬ 
lects on the surface, and would fix itself on the 
first plate introduced were it not so removed. 

Avoid the contact of the human hands with the 
nitrate bath, as every drop leaves an indelible 
stain. 

It is recommended to obtain a box which will 
support the plate-holder in an upright posi¬ 
tion after the plate is in it, previous to being 
placed in the focus of the camera, thereby avoid¬ 
ing damage to the floor or carpet upon which the 
camera stands. 

A nitrate bath once prepared according to the 
foregoing plan, and in good working order, will 
remain in action for years, by adding occasionally 
a little more acid, say ten drops at a time, when 
lines appear, and nitrate of silver when required. 
After using a bath for a great number of impres¬ 
sions, it will be necessary to add more iodide of 


140 RENEWAL OF THE BATH. 

silver, which must be done in the same manner as 
described on page 134. 

When the bath requires a renewal of the nitrate 
of silver, as it necessarily will, after a given quan¬ 
tity of plates have been prepared, the impressions 
will appear to be covered unevenly with silver, 
after the application of the fixing solution. 

Test the bath with the hydrometer, and add 
more silver to bring the strength up to the requi¬ 
site standard—viz., forty grains to each ounce of 
water. 


CHAPTER X. 


THE DEVELOPING SOLUTIONS-MANNER OF COMPOUND¬ 
ING THEM-VARIOUS FORMULAS FOR DEVELOPING 

SOLUTIONS-TEST OF ACETIC ACID-THE FIXING SO¬ 
LUTIONS-CYANIDE OF POTASSIUM-HYPOSULPHITE 

OF SODA-ADDING CHLORIDE OF SILVER. 

THE DEVELOPING SOLUTION. 

The chemicals used in the developing solution 
are sulphate of iron, acetic acid, and alcohol. 

Sulphate of iron, .... 2 ounces. 

Acetic acid, No. 8, . . . . 2 ounces. 

Alcohol (either 80 or 95 per cent.), . 1 ounce. 

"Water,.1 quart. 

The sulphate of iron should be of pure quality, 
which may be known by its clear and transparent 
green crystals. 

Dissolve the iron and water, and filter; then 
add the acetic acid and alcohol, keeping it in a 
glass-stoppered bottle, ready for use. Use it by 
pouring out a small quantity at a time in an open 
mouthed bottle, which will contain six or eight 


ounces. 


142 


THE DEVELOPING SOLUTIONS. 


Some prefer to add the acetic acid and alcohol, 
preserving the same proportions in the same bottle 
as it is required for use. 

If one is not consuming it very rapidly, this 
latter plan is recommended. 

It has been found, when all the ingredients are 
mixed at once, that the developing solution be¬ 
comes changed after standing a few days, and a 
precipitate is formed. 

In order to facilitate the dissolving of the sul¬ 
phate of iron, it may be pulverized in a mortar, 
and warm water added instead of cold. 

This solution is to be used only once upon the 
plate, as it forms with the silver another substance, 
which, on a second application, would injure the 
picture. Some operators, however, have filtered 
and used it again by adding a small quantity of 
acetic acid. 

There are other solutions and other formulas for 
the developer which are highly recommended, a 
few of which are given: 


No. 1. Proto-sulphate of iron, , . 2 ounces. 

Acetic acid, No. 8, . „ . 2 ounces. 

Alcohol, ..... 1 ounce. 

Nitric acid, . ... h ounce. 

Water, ..... 1 quart. 


IMPURITIES OF ACETIC ACID. 


143 


No. 2. 

Proto-sulphate of iron, 


4 ounces. 


Acetic acid, No. 8, 


4 ounces. 


Alcohol, 


4 ounces. 


Water, 


1 quart. 

No. 3. 

Proto-sulphate of iron, 


3 ounces. 


Acetic acid, No. 8, 


3 ounces. 


Alcohol, 


3 ounces. 


Sulphuric acid, . 


i ounce. 


Water, 


1 quart. 

No. 4. 

Proto-sulphate of iron, 


1 ounce. 


Nitrate of potash (refined 

nitre), . 

| ounce. 


Acetic acid, 


3 ounces. 


Water, 


1 quart. 


The foregoing receipts are given mainly to in 
dicate the various processes, all pending to the 
same results. The addition of nitric acid and sul¬ 
phuric acid has been said by some to render the 
pictures whiter. But this is doubted by others; 
and the result of a long experience has shown that 
the first receipt here given will produce the best 
pictures. 

There are many impurities of acetic acid, and it 
is necessary to test it, which is done by putting 
merely one or two drachms of the silver solution 
from the bath into a small quantity of the acid, 
or either dissolve a small quantity of nitrate of 
silver, and add it to the acrid. If the acid exhib- 




144 


THE FIXING SOLUTIONS. 


its any precipitate, it will not answer for the pur 
poses of a developing agent. 

THE FIXING SOLUTIONS. 

The fixing solutions are composed of cyanide of 
potassium and hyposulphite of soda, as follows: 

No. 1. Cyanide of potassium, . . . i ounce. 

Water,.1 pint. 

Dissolve and filter, and it is ready for use. 

No. 2. Hyposulphite of soda, . . 4 ounces. 

Water,.1 pint. 

Dissolve and filter. 

The fixing solutions are very simple, and easily 
kept in order, except that, after using for a num¬ 
ber of pictures, they will require strengthening. 

Some operators add a small quantity of chloride 
of silver to the solution, and it is said it will render 
the pictures of a whiter and purer tone. 

Filter this solution often, and avoid dust and 
other foreign substances. 

The cyanide of potassium fixing solution is the 
one greatly preferred, and most commonly usee 1 
for the Ambrotype process. 


' 






CHAPTER XI. 

TIIE MANUFACTURE OF GUNCOTTON—TEST OF THE 
ACIDS EMPLOYED-WASHING AND DRYING THE GUN¬ 
COTTON-PREPARATION OF THE COLLODION-ITS 

NATURE AND PROPERTIES-ETHER AND ALCOHOL- 

TO IODIZE COLLODION FOR AMBROTYPES-METHOD 

OF PRESERVING COLLODION, AND KEEPING IT READY 

FOR USE-TESTS OF GOOD COLLODION——TO REMOVE 

THE COLOR FROM COLLODION. 

A work like this would be incomplete without 
full and practical details relative to the prepara¬ 
tion of gun-cotton, and its conversion into col¬ 
lodion, although the manufacture of it is attended 
with considerable difficulty and uncertainty. It is 
recommended to beginners, therefore, to purchase 
their collodion of those more experienced opera¬ 
tors, when only a small quantity is required. In¬ 
deed, the manufacture of gun cotton itself is liable 
to great variation, as well as being very deleteri¬ 
ous to health. It is found that even those who 
make collodion for sale, purchase their gun-cotton 

13 


146 THE discovery of gun-cottou. 

ready made. Both gun-cotton and collodion are 
all perfectly iodized and warranted. They can be 
found for sale by most dealers in Daguerreotype 
goods. 

Collodion is so called from a Greek word, which 
signifies “ to stick.” It is a transparent fluid, pro¬ 
cured generally by dissolving gun-cotton in ether, 
or ether and alcohol. 

It was discovered by Professor Schoenbein, of 
Basle, Switzerland, in the year 1846, and was first 
used for surgical purposes only, being smeared 
over fresh wounds and raw surfaces, in order to 
preserve them from contact with the air by the 
tough film which it leaves on evaporation. It is 
now sold by druggists for the same purpose; but 
photographers have hailed the discovery of collo¬ 
dion as the final keystone to their wonderful art, 
and they draw large contributions from this sub¬ 
stance. It is consequently of great importance 
that its preparation should be the most complete 
and exact that can be attained. 

Gun-cotton is procured by immersing the pure 
clean fibres of cotton in sulphuric acid and nitric 
acid, or sulphuric acid and nitrate of potash. 

If a large quantity of gun cotton is desired, the 
mixture of nitric and sulphuric acid is generally 


TO MAKE GON-COTTON. 


147 


adopted. For photographic purposes, however, 
the mixture of nitrate of potash and sulphuric acid 
is used as follows: 

TO MAKE GUN-COTTON. 

Granulated nitrate of potash, . . 6 ounces. 

Sulphuric acid, .... 5 ounces. 

Pure cotton, . . . . .160 grains. 

The- nitrate of potash should he pulverized in a 
porcelain mortar, and the sulphuric acid added 
and mixed until a thick pasty substance is formed, 
when the cotton must be quickly immersed, and 
stirred with a glass rod, so as to thoroughly incor¬ 
porate the cotton in the mixture. Then pound the 
cotton slightly for a period of ten minutes. When 
the cotton assumes a stringy appearance, and on 
separating the fibres, it breaks easily, it must be 
quickly immersed in a quantity of water to re¬ 
move the acid, after which it is to be well washed 
for ten or fifteen minutes in water, constantly 
changing it, until all traces of the acid disappear. 
Great care is necessary to be observed in prepar¬ 
ing the gun-cotton. It should be made in an open 
space, where free circulation of air is obtained, in 
order that the deleterious fumes of the acid shall 
pass away. The quality of the ingredients is 


148 


WASHING THE ACIDS. 


highly essential. The rectified nitrate of potash, 
known as “ Dupont’s granulated nitre,” is prefer¬ 
able. The acid should be of the specific gravity of 
1.860, and free from water. 

On mixing the acid and nitre, the temperature 
should be raised to about 140°, or it will become 
so if they are of the required quality, in conse¬ 
quence of the small quantity of water contained in 
the nitre. 

The most expeditious plan to wash the acid out 
is to have running water, as from a hydrant. 

As soon as the acid is completely washed out, 
which may be ascertained positively by using lit¬ 
mus-paper, the cotton is then to be placed in alco¬ 
hol, in order to remove all traces of water; then 
by wringing it out in a clean towel, all the alcohol 
can be removed, and it is then ready to spread out 
on white paper to dry, which will be done in a few 
moments. 

If the manufacture of the gun-cotton, as above 
described, has been successful, the product will be 
capable of the following conditions: A small quan¬ 
tity will explode on the application of heat. It 
will dissolve readily in a solution of alcohol and 
ether, in certain proportions, without leaving much 
residuum. 


PREPARATION OF COLLODION. 


149 


The manufacture of gun-cotton is usually attend¬ 
ed with many difficulties, and liable in all cases to 
result in failure from the slightest variation of the 
process, and withal is quite detrimental to health. 
It is therefore recommended to purchase the gun¬ 
cotton, when possible, thereby saving all the per¬ 
plexity and uncertainty attending its preparation. 

* PREPARATION OF THE COLLODION. 

Assured that you have a good quality of gun¬ 
cotton, the preparation of the plain collodion is at¬ 
tended with very little difficulty. The proportions 
are as follows: 

Sulphuric ether, concentrated, sp. g. 720 . 10 ounces. 

Alcohol, 95 per cent., sp. g. 820 . . 6 ounces. 

Gun-cotton.80 grains. 

Mix these in the order above given, and shake 
them thoroughly, when the cotton will be seen to 
dissolve, and the substance to assume a glutinous 
appearance on the inner surface of the bottle. In 
some instances it may require the addition of more 
gun-cotton to render the collodion of the required 
consistency. This can be ascertained by pouring 
a small quantity upon a piece of glass, and allow¬ 
ing the ether to evaporate. If a thick film is 
13* 


150 


TO IODIZE COLLODION. 


\ 

funned on the glass sufficient to hold together, and 
to be raised up without breaking very readily, it 
will answer; but if it does not contain these requi¬ 
sites, add more gun-cotton. If too thick, then add 
more ether and alcohol, in the same relative pro¬ 
portions. 

Allow this to stand a few hours to settle, then 
decant into another bottle, leaving a small portion 
at the bottom, which will remain undissolved by 
the ether and alcohol. This sediment may be re¬ 
served until the next lot is required, and added to 
it without loss. 

TO IODIZE THE COLLODION FOR AMBROTYPES. 

Pure collodion, .... 8 ounces. 

Bromo-iodide of silver, ... 4 drachms. 

Prepared as described on page 159. 

Hydro-bromic acid, .... 20 drops. 

Prepared as described on page 161. 

The iodizing of the collodion is also liable to a 
variety of uncertainties in the result. If there is 
any defect in the quality of the ether or the alco¬ 
hol, the collodion will not work with good results. 
This can only be known on trial. If the him 
should not prove thick enough on using, add 20 


PRESERVING THE COLLODION. 


n\ 


grains of iodide of potassium and 10 grains of 
bromide of potassium, as follows: First dissolve 
the bromide in a drachm or two of water, then 
add the iodide. When both are well dissolved, 
add the whole to the eight ounces; shake it well, 
and allow it to stand for a few days. It will as¬ 
sume at first a thick and opaque appearance, but 
will settle clear, if left in quiet for a sufficient 
length of time for all the precipitate to fall. It 
can then be decanted into another bottle, ready 
for use. 

The remainder of the collodion recipes, together 
with the preparations of the iodides and bromides, 
and the various saturated solutions, will be given 
in a separate chapter. 

Collodion should be kept as much as possible 
from the light, although by some it is asserted that 
light does not affect its properties. Yet it must be 
apparent that if the collodion is affected by light 
in any form, it will certainly be if exposed to its 
rays for a long time. In no case should it be 
shaken after it is decanted. 

The most successful manner of using collodion 
is to be provided with three long bottles made ex¬ 
pressly for this purpose. Fill each one from the 
large bottle, allowing them to stand. Use from 


152 


TESTS OF COLLODION. 


eacli bottle, alternately. By this means there can 
be no possibility of disturbing the particles in the 
collodion, and one will also avoid many spots and 
lines upon the glass plates. 

Collodion requires to be perfectly clear and 
transparent in order to work successfully. The 
color may at times vary. On first mixing the in¬ 
gredients, it will assume a yellow hue, changing 
to a darker shade, and finally to a red. The color 
does not in any degree affect the working proper¬ 
ties of the collodion. 

The tests of good collodion before working are, 
that it appears clear and transparent, devoid of 
small particles floating in it; that it be thick 
enough to form a film readily on the glass, and 
that it dries with perfect smoothness, without 
ridges or lines. 

But the best test is to make a trial picture with 
it, and the result will soon convince one of the 
success or failure of his j>roduction. 


CHAPTER XII. 


ALCOHOLIC SOLUTIONS FOR PREPARING- COLLODION- 

IODIDE OF SILVER SOLUTION-BROMIDE OF SILVER 

SOLUTION-BROMO-IODIDE OF SILVER SOLUTION- 

SATURATED SOLUTION OF IODIDE OF POTASSIUM IN 

ALCOHOL-OF BROMIDE OF POTASSIUM-TO MAXE 

HYDRO-BROMIC ACID. 

The references made in a former portion of this 
work to the manufacture of collodion will now he 
given. 

All the recipes here presented are highly rec¬ 
ommended. All these collodions will work, and 
work well, if the proper nitrate baths are used in 
connection with them. But it may be found that 
many of them will fail at the first trial, yet if a 
different modification of the bath is adopted, they 
will work successfully. 

The general rule laid down by the most expe¬ 
rienced photographers is, that if a collodion is 
heavily iodized, it will require a larger quantity 
of silver in the nitrate bath, and, vice versa , a 


154 


rehn’s ambrotype collodion. 


lightly iodized collodion will work with a bath of 
a less quantity of silver. 

The formula given in the chapter on manipula¬ 
ting, page 180, is one which is said to be used by 
Rehn, of Philadelphia. It certainly will produce 
very pleasing effects, and if care is had in com¬ 
pounding, it cannot fail of absolute success. 

The preparation of all collodions, however, is 
unavoidably attended with diverse results, from 
the great liability of some one of the ingredients 
being of an inferior quality. Nor can one be fully 
assured of success until the collodion is made and 
allowed to settle two or three days, and a trial had 
of the same. 

This will necessarily consume much time, and 
also cause disappointment. It is therefore sug¬ 
gested that, when convenient, the collodion which 
has already been tested by an experienced operatoi 
and maker should be used. 

Here follow the various recipes for collodions, 
and the baths which are necessary to accompany 
them. 

Helm's celebrated Recipe for Ambrotype Collodion. 

No. 1 . Collodion . 8 ounces. 

Iodide of silver .... 4 drachms. 

Hydro-bromic acid . . .20 drops. 


COLLODION RECIPES. 


155 


This collodion requires 40 grains of nitrate of 
silver to the ounce, with the usual developer. 

No. 2. Collodion.8 ounces. 

Bromo-iodide of silver . . 6 drachms. 

Hydro-bromic acid . . . 25 drops 

Bath of 40 grains to the ounce. 


Cutting's celebrated Patent Recipe for Ambrotype 
Collodion . 


No. 8. Collodion . 

. 

1 ounce. 

Gum camphor . 

. 

1 grain. 

Iodide of potassium 

• 

5 grains. 

30-grain nitrate bath. 

No. 4. Collodion . 


6 ounces. 

Iodide of potassium 


25 grains. 

Iodide of silver solution 


2 drachms 

Iodide of ammonia 


5 grains. 

Iodine, pure 


1 grain. 

30-grain nitrate bath. 

No. 5. Collodion . 

. . 

17 ounces. 

Iodide of potassium 

. 

40 grains. 

Bromide of potassium 

. 

40 grains. 

Nitrate bath 30 grains to the ounce of water. 

No. 6. Collodion . 

. # 

4 ounces. 

Iodide of potassium 

. 

12 grains. 

Bromide of potassium . 

. 

15 grains. 

' Saturated solution of iodide of po- j 
tassium in alcohol ^ 

► 20 drops, 

Nitrate bath of 30 grains. 




156 


ALCOHOLIC SOLUTIONS. 


No. 7. Collodion.6 ounces. 

Iodide of silver solution . . 1 drachm. 

Hydro-bromic acid ... 18 drops. 

Bromide of potassium ... 5 grains. 

Iodide of potassium . . .15 grains. 


Saturated solution of iodide of po-) drachms 
tassium in alcohol ) 2 

40 grains in the nitrate bath. 

Very sensitive Collodion■ for Cldldren. 

No. 8. Collodion.8 ounces. 

Iodide of ammonia ... 40 grains. 

Bromide of ammonia . . .16 grains. 

40 or 50 grain hath. 

ALCOHOLIC SOLUTIONS FOR PREPARING 
COLLODION. 

These solutions are to be prepared and allowed 
to remain several hours before using, and kept ex¬ 
cluded from the light. When they are added to 
the collodion, they must always be perfectly clear 
and transparent, nor must any portion of the pre¬ 
cipitate which is seen at the bottom of the prepar¬ 
ation fall into the collodion. 

It is recommended to prepare all these solutions 
some days even before they are needed, in order 
that the alcohol and potassium shall dissolve a 
greater proportion of the iodides or bromides of 
silver. The greater the proportion of silver taken 




IODIDE OF SILVER SOLUTION. 


157 


up, the better chemical effect will be produced in 
the collodion. These various preparations are the 
most difficult portion to be made in manufacturing 
the collodion, and require the greatest care and 
attention. 

IODIDE OF SILVER SOLUTION. 

Dissolve 80 grains of iodide of potassium in 4 
ounces of water, and 120 grains of nitrate of silver 
in the same quantity, but in a separate bottle. 
(This process must not be conducted in a strong 
daylight, but in one greatly subdued, or in a dark 
room by the light of a lamp.) Then pour them 
together in a large graduated dish, or an open glass 
vessel, when a yellow precipitate will be formed. 
This is pure iodide of silver. Wash this precipi¬ 
tate with water three times, allowing it to settle a 
few minutes, and decant or pour the water off. 
Then wash it with alcohol twice, to displace the 
water, pouring it off. and leaving the iodide of 
silver in the dish. This must now be placed in a 
glass-stoppered bottle that will hold ten or twelve 
ounces. Dissolve the iodide of silver in eight 
ounces of alcohol, 80 per cent., in which has been 
saturated one ounce of iodide of potassium, as fol¬ 
lows : 


14 


158 


BROMIDE OF SILVER SOLUTION. 


Pulverize the ounce of iodide of potassium in a 
clean porcelain mortar, and add one or two ounces 
of alcohol from the eight ounces which is to be 
measured out for the iodide of silver solvent. Stir 
with a pestle the alcohol in the potassium, and a 
small portion will be taken up or dissolved. This 
must now be poured into the bottle which contains 
the washed iodide of silver. Then proceed in the 
same manner, adding two ounces more of the al¬ 
cohol, stirring it well, and pouring into the bottle 
as much as will dissolve, until the whole eight 
ounces are added. There may be a portion of the 
iodide of potassium in the mortar not dissolved; 
this can also be added to the iodide of silver. 
After shaking it, allow it to stand and settle per¬ 
fectly clear, when it will be ready for use. 

BROMIDE OF SILVER SOLUTION. 

Bromide of potassium ... 80 grains. 

Nitrate of silver .... 80 grains. 

Dissolve separately in four ounces of water; 
then mix it, when the bromide of silver is formed, 
and is seen in a precipitate at the bottom of the 
dish. Wash this precipitate with w T ater three 
times, allowing it to settle a few minutes, and de¬ 
cant or pour the water off. Then wash it with 


BROMO IODIDE OF SILVER SOLUTION. 159 


alcohol twice, to displace the water, pouring it 
off, leaving the bromide of silver in the dish. 
This must now be placed in a glass-stoppered bot¬ 
tle that will hold ten or twelve ounces. Dissolve 
the bromide of silver in eight ounces of alcohol, 
80 per cent., in which has been saturated one ounce 
of bromide of potassium. 

Pulverize the ounce of bromide of potassium in 
a clean porcelain mortar, and add one or two 
ounces of alcohol from the eight ounces which are 
to be measured out for the bromide of silver sol¬ 
vent. With the pestle stir the alcohol in the 
potassium, and a small portion will be taken up 
or dissolved. This must now be poured into 
the bottle which contains the washed bromide of 
silver. Then proceed in the same manner, adding 
two ounces more of the alcohol, stirring it well, 
and pouring into the bottle as much as will dis¬ 
solve, until the whole eight ounces are added. 

BROMO-IODIDE OF SILVER SOLUTION. 

Dissolve separately in four ounces of water— 

Bromide of potassium ... 80 grains. 

Nitrate of silver .... 80 grains. 

Then mix and wash out with water three times, 
and with alcohol twice. Then pulverize one ounce 


lt>0 IODIDE OF POTASSIUM IN ALCOHOL. 

of iodide of potassium, and dissolve in eight ounces 
of alcohol, precisely in the same manner as de¬ 
scribed in the alcoholic solution of iodide of silver. 

These various solutions of silver, and iodides 
and bromides, are deemed very essential to success 
in ambrotyping. If they are prepared with care 
and attention, none can fail of success in making 
good collodion. 

They should be kept as much from the light as 
possible, and always in glass-stoppered bottles well 
filled, to prevent evaporation. 

SATUKATED SOLUTION OF IODIDE OF POTASSIUM 
IN ALCOHOL. 

Pulverize one ounce of iodide of potassium in a 
mortar, and add three ounces of 80 per cent, alco¬ 
hol, stirring it for some minutes, and then allow¬ 
ing it to settle. Pour off the clear liquid into a 
bottle, and add a smaller quantity of alcohol, stir¬ 
ring this also in the same manner, and pouring ofl' 
the clear solution into the bottle. Continue to add 
each time a smaller quantity of alcohol, until all 
the potassium is dissolved. 


BROMIDE OF POTASSIUM IN ALCOHOL. 161 


SATURATED SOLUTION OF BROMIDE OF 
POTASSIUM IN ALCOHOL. 

Pulverize one ounce of bromide of potassium in 
a mortar, as described in the preparation of iodide 
of potassium above, adding alcohol, 80 per cent., 
in the same manner, until it is all dissolved. 

These saturated solutions will be found very use¬ 
ful to add to collodions that will not work well, or 
if the film is not of sufficient thickness on with¬ 
drawal from the bath. By adding a small quantity 
of each of these saturated solutions, any desired 
effect can be produced. 

They also enter in the properties of some of the 
collodion recipes given in this work. 

The quantity of each saturated solution used, is 
for bromide of potassium just one half as much as 
of the iodide of potassium—that is to say, if one 
drachm of iodide is used, one half drachm of the 
bromide would be sufficient. 

TO MAKE THE HYDRO-BROMIC ACID. 

Alcohol (95 per cent.) ... 4 ounces. 

Water (distilled) .... 1 ounce. 

To this is added one drachm of pure bromine,— 
then shaken quickly, and allowed to remain for 
14 * 


162 


TO MAKE HYDRO BROMIC ACID. 


twenty-four hours. It will assume at first a deep 
cherry-red color, hut afterwards it will become 
clear again. Every twenty-four hours there must 
be added, say, five or six drops more of bromine, 
and continued for a week or ten days, adding a 
few drops every day, when it will be ready for use. 
It will eventually assume nearly a white trans¬ 
parent color, slightly inclined to yellow. 

This preparation is highly sensitive to light, and 
must be kept in a perfectly air-tight bottle, and 
not exposed to the light of day. 


CHAPTER XIII. 

CAUTIONS WITH REGARD TO USING THE VARIOUS 
CHEMICAL SUBSTANCES IN MAKING GUN COTTON—-USE 

OF ETHER AND ALCOHOL-USE OF CYANIDE OF 

POTASSIUM-NITRATE OF SILVER-CLEANING THE 

HANDS-SOLUTION FOR CLEANING THE HANDS- 

HINTS ON THE VARIOUS PROCESSES CONNECTED 
WITH POSITIVES AND NEGATIVES. 

f 

In the practice of the photographic art, great 
caution is necessary to be observed in regard to 
the various chemicals employed. 

By a singular coincidence of circumstances, very 
many of the chemicals are combustible, and are 
indeed of a very explosive nature, while those 
which are not inflammable are poisonous. It will 
therefore be the wish of every operator to avoid 
accidents, as they are always liable to occur un¬ 
less they are carefully guarded against. 

In preparing gun-cotton, the vapors arising from 
the combination of the acid and nitrate of potash 


164 


DRYING GUN-COTTON. 


^re very deleterious, if inhaled, as they are liable 
to be, because it is necessary to stir the cotton dur¬ 
ing the whole time of immersion. Always pre¬ 
pare it in the open air, or where a free circulation 
of it may be obtained. 

When the cotton is drying, avoid any contact of 
tire, or an approach to the fire, for it explodes at 
the temperature of 370° Fahrenheit, while gun¬ 
powder requires 500°. If gun-cotton is kept a 
long time in large quantities, spontaneous combus¬ 
tion may ensue, if any moisture comes in contact 
with it. 

In using ether and alcohol, be careful to remove 
the lamp to a great distance from it. In pouring 
the collodion on the plate, one is very liable to 
accident, for the vapors of ether are rapidly pass¬ 
ing off. They will ignite even if the lamp is within 
one or two feet of the bottle. Coat the plates by 
the light of day, if possible, thereby avoiding the 
possibility of combustion of the collodion. 

In pouring ether or collodion from one bottle to 
another, practice the greatest care, as the vapors 
will ignite at a long distance from these substances, 
when they are made to evaporate. 

Cyanide of potassium will have the effect of a 
virulent poison, if taken in the system; and even 


TO CLEAN THE HANDS. 


165 


inhaling the fumes which constantly arise from it 
are injurious. By wetting the lips slightly with 
alcohol immediately afterwards, it will in some 
degree neutralize the unpleasant effects. 

Use no soap to remove the stains of nitrate of 
silver, but employ cyanide of potassium, which 
must be well washed with clean water to remove 
any traces of that substance. Should the skin be 
broken, a small quantity of cyanide will enter, 
causing considerable pain and inconvenience. 

Avoid the contact of the hands as much as pos¬ 
sible with the nitrate of silver solution, as well as 
dropping it upon the clothes. Wherever it may 
fall, it will cause a stain or mark that- nothing but 
cyanide of potassium will remove. 

TO CLEAN THE HANDS. 

The most effectual way to clean the lingers 
when they become stained with nitrate of silver, 
is to moisten them and rub them with cyanide of 
potassium. This should be used as soon as possi¬ 
ble after the stains have been made. 

A piece of pumice-stone rubbed down to a flat 
surface is also very effectual in removing fresh 
stains. 


166 


REMOVING STAINS OF SILVER. 


ANOTHER PLAN. 

Wash the hands with a solution of iodine, dis¬ 
solved in alcohol, and while they are wet wash 
w T ith a strong solution of hyposulphite of soda, 
afterwards with water, to remove all traces of the 
salt. 


METHOD OF REMOVING THE STAINS OF SILVER 
FROM LINEN, THE HANDS, ETC. 


Mix together— 

Common alcohol 
Iodine 
Nitric acid . 
Hydrochloric acid 


20 parts. 
1 part. 
1 part. 
1 part. 


These produce a reddish liquid, which, when ap¬ 
plied to stains caused by any salts of silver, im¬ 
mediately converts them into chloride and iodide 
of silver, soluble in hyposulphite of soda and cya¬ 
nide of potassium. The effect is especially marked 
on stained linen. When a black patch is touched 
with the liquid, by means of a little brush, it in¬ 
stantly turns yellow, with a violet border, if the 
linen has been starched. On washing with the 
hyposulphite, or with the cyanide, the violet tint 
immediately vanishes, and the yellow spot by de- 



HINTS AND SUGGESTIONS. 


1G7 


grees. It is well to wash the stained place after 
the application of the iodized solution, in order to 
remove the acids, which might produce independ¬ 
ent stains by contact with the hyposulphite or the 
cyanide. 

For the hands, the operation is the same, except 
that, instead of using a brush, the skin may be 
rubbed with a piece of rag or cotton. 

HINTS AND SUGGESTIONS. 

The following hints and suggestions in regard 
to the practice may be observed with profit: 

Always keep the stoppers in the bottle, except 
when the bottle is in actual use. 

Always cover the nitrate of silver bath, except 
when in use. 

Always rinse the fingers well in clean water 
after developing a picture, or the next will prob¬ 
ably be injured. 

The frames for holding the glass plates in the 
plate-holder will require revarnishing, as the ni¬ 
trate of silver often acts on the wood, and produces 
stains on the picture. 

Frequently wash the glass bottles containing the 
developing solution. 

Be careful that the towels and clothes for clean- 


168 


DECANTING THE COLLODION. 


ing the glasses are used for no other purpose, and 
are free from all contact of soap. &c. 

Remove carefully any dried collodion which 
may form about the neck of the bottle. 

Particularly observe that in every thing con¬ 
nected with photography, the most scrupulous at¬ 
tention to cleanliness is indispensable to good suc¬ 
cess. 

Remember to decant from the large bottle a 
sufficient quantity of collodion every evening for 
use the following day into several small bottles, as 
the oftener it is decanted, the more pure the col¬ 
lodion. 

If the collodion is too thick, and requires the 
addition of more ether, the proper time to add it 
will be when it is decanted. It may then be 
slightly agitated. 

Avoid in all cases the shaking of collodion, or 
of the varnishes. The collodion is always throwing 
down a precipitate which requires many hours to 
fall again, if disturbed; and the varnish will be¬ 
come full of air-bubbles, which on being applied 
to the surface of the plate, greatly injure it. 

In applying the thick varnish, or the balsam, 
between the two glasses, according to the “ patent 
process,” great care must be observed to avoid tho 


THE USE OF TEST-PAPERS. 


169 


air-bubbles. It should be poured only on the cen¬ 
tre of the glass, and then with only a drop or two. 
After the pouring, the balsam should form a slight 
line, running to the edge of the glass, otherwise 
air-bubbles will inevitably be produced. Avoid 
pressing the glasses after they are sealed. 

Use gutta-percha dishes for all photographic 
purposes, and avoid bringing them too near the 
fire, as they will melt at a low temperature. 

In using test-papers, observe the following pre¬ 
cautions : They should be kept in a dark place, 
and protected from the action of the air, or they 
soon become purple from carbonic acid, always 
present in the atmosphere in small quantities. By 
immersion in water containing about one drop of 
liquor potasse in four ounces, the blue color is re¬ 
stored. 

Test-papers prepared with porous, paper show 
the red color better than those upon glazed or 
strongly sized paper. If the quantity of acid pres¬ 
ent, however, is small, it is not sufficient in any 
case simply to dip the paper in the liquid : a small 
strip should be thrown in, and allowed to remain 
for ten minutes or a quarter of an hour. 

If the paper, on immersion, assumes a wine-red, 
or purple tint, in place of a decided red, it is prob- 
15 


170 OOLLODION HIGHLY SENSITIVE. 

ably caused by carbonic acid gas. In that case 
the blue color returns when the paper is washed 
and held to the fire. Blue litmus-paper may be 
changed to the red papers used for alkalies by 
soaking in water acidified with sulphuric acid, one 
drop to half a pint. 

TO RENDER ANY COLLODION HIGHLY SENSITIVE 

By the addition of two or three drops of a solu¬ 
tion of iodide of iron in alcohol to every ounce of 
iodized collodion, it will cause it to make the im¬ 
pression in the camera in an incredible short space 
of time; but as it soon injures the quality of the 
collodion, it is well not to sensitize only as much 
as is wanted for immediate use. 



PART III. 


PRACTICAL DETAILS 

OF Tlllt 

CAETES DE VISITE PEOCESS. 


CARTES I)E VISITE 

AND 


STEREOSCOPIC PICTURES. 






































































































- 
































































* - 
























































































CHAPTER XIV. 



THE DISCOVERY OF THE STEREOSCOPE-THE ORIGINAL 

DISCOVERER-THE PRINCIPLE OF THE STEREOSCOPE 

-THE PHILOSOPHY OF THE STEREOSCOPE-UTILITY 

OF THE STEREOSCOPE-CONDITIONS NECESSARY FOR 

THE PRODUCTION OF THE STEREOSCOPIC PICTURE- 

THEY CANNOT BE TAKEN FROM PAINTINGS OR 
DRAWINGS, BUT FROM STATUARY AND ALL NATU¬ 
RAL OBJECTS. 

The discovery of the Stereoscope would never 
have been made if Photography had not been 
ushered into this world by such minds as Da¬ 
guerre, Talbot, Archer and others, who were 
instrumental in perfecting this wonderful Art. 
Although two drawings can be made of one ob- 
ject, yet the perfection of the stereoscopic effect 
is not so great as if they are made by the photo¬ 
graphic process. Certain diagrams have been 
made of ovals and cubes, which were admired as 
curious drawings, but they have all given place 

now to those made by the light of the sun. 

15 * 


174 


THE STEREOSCOPE. 


The invention was due mainly to the researches 
of Prof. Wheatstone, of King’s College, London, 
who was instituting certain experiments with a 
view to explain the phenomena of vision, when 
the idea occurred to him of looking at two pic¬ 
tures of the same object with both eyes, at the 
same time separating the view of each eye. 

The original Stereoscope, as first introduced 
by Prof. Wheatstone, consisted of two parallel 
mirrors, so placed that their edges should be in 
contact, and inclined at right angles, one to the 
other. These mirrors were attached to a vertical 
support with slides into the centre of a base-board. 
Near the two ends of the base-board, were sup¬ 
ports for receiving the* pictures, which were so 
placed that they should face each other. Then 
by looking into the two mirrors at the same time, 
the images of the two pictures were formed on 
the same portion of the retina of the eye, convey¬ 
ing to the mind an impression of an object in 
relief. 

This form of the Stereoscope was found useful 
only for large pictures, and has been superseded 
by the lenses, made in a certain form for viewing 
the smaller stereoscopic pictures which were in 
vented by Sir David Brewster. 


THE STEREOSCOPE. 


175 


A large instrument for viewing stereoscopic 
pictures, was made by Messrs. Soutliwortk & 
Hawes, of Boston, Mass., and exhibited at a Fair 
in that city, which was constructed with mirrors, 
upon the plan of Prof. Wheatstone. 

This elicited much attention from the scientific 
gentlemen who saw it, yet it never lias been 
brought into notice, mainly from the fact of the 
great cost of construction. 

But when the Stereoscopic branch of the Pho¬ 
tographic Art shall become enlarged, and the 
public demand larger pictures, this mode of con¬ 
struction may be adopted. For viewing the or¬ 
dinary sized Stereoscopic pictures, the Refracting 
Stereoscope instrument is used, as constructed by 
Sir David Brewster. This popular instrument, 
now so generally in use, consists mainly of a 
pyramidal body of wood, or any other substance, 
about five and one-half inches high, surmounted 
by two eye-pieces or half-lenses, separated from 
each other a distance equal to the space between 
the two eyes, generally about two and one-half 
inches. 

The body of the instrument is pierced near the 
base, to form a receptacle for the pictures to be 
viewed. A small door is usually arranged in 


176 


STEREOSCOPIC PICTURES. 


front, to allow light to fall on opaque pictures, 
and a ground glass is fitted at the end to view the 
transparent one. 

Now, if we take two correct drawings of any 
object, from two different points of view, and 
place them in the Stereoscope instrument, we shall 
find on looking through the lenses, that the two 
plane representations within will appear united, 
forming one solid picture of the most perfect de¬ 
scription, and if they are properly taken, with a 
view to produce the most perfect Stereoscopic ef¬ 
fect, they will appear to the observer as an actual 
reality, a solidity. As the name Stereoscope in¬ 
dicates, they become solid pictures. 

But this truly wonderful result cannot be ob¬ 
tained unless the drawings are exact copies of 
nature, even more exact than the human hand 
can exeeuto. We are therefore obliged to call in 
the aid of Pli otography, without which Stereo 
scope pictures would have never attained that 
perfection which we see now exhibited. 

This art enables us to obtain with great facility 
the most truthful pictures, more correct in detail, 
and perfect in light and shade, than by any other 
known process. 

The rapid stride this Art has made in the few 


THE STEREOSCOPE. 


1 4 7 

years it has been practised, renders it certain that 
it will yet attain to a greater degree of excellence, 
and surpass in wonder any previous revelations of 
Photographic skill. 

The philosophy of the Stereoscope has been 
explained as the true philosophy of vision ; that 
as we view all objects through the medium of two 
eyes, the two impressions are made upon the reti¬ 
nas of the two eyes, precisely in the same manner 
as the Stereoscopic impression is made by the 
camera-obscura. Each eye has a distinct reflec¬ 
tion of all objects brought wbthin its view, and 
there is no doubt of the fact, that there are repre¬ 
sented the two pictures, as accurately as seen in the 
Stereoscopic production ; and the reason we do not 
see the two distinctly, is only because the mind 
has become accustomed to resolving the two into 
one. This is called binocular vision, or seeing 
two objects at once with the two eyes. 

The utility of the Stereoscope will not be ques¬ 
tioned when we bear in mind the wonders it re¬ 
veals in bringing to our view all the objects of 
interest in the known world. And it may be ap¬ 
plied with a great degree of usefulness, in the 
delineations of machinery, models, &c., in which 
field it has not thus far greatly progressed. But 


178 


STEREOSCOPIC PICTURES. 


the extent of its usefulness has hardly begun to 
be appreciated. There are yet many ways in 
which this art may be applied, which have not 
even suggested themselves to the minds of Pho¬ 
tographers. Like all new wonders in science, it 
will lead on, step by step, until it will at last 
mount the topmost round in the ladder of re¬ 
search and investigation. 

Two important conditions are necessary for the 
production of good Stereoscopic pictures: First 
the distances apart at which the two pictures 
should be taken to produce the necessary Stereo¬ 
scopic effect; and secondly, the accessories to be 
introduced to improve the pictures when groups 
are to be represented. 

If the lenses of the camera are not wide enough 
apart, the objects will appear wanting in their 
solidity; and if on the contrary the lenses are 
placed too far apart, the effect will be exaggera¬ 
ted, and pictures will be produced more resem¬ 
bling monstrosities than any thing real. 

Prof. Wheatstone, the inventor, has given one 
foot of separation for every twenty-five feet dis¬ 
tance, when taking views. But in portraiture, 
about 2^ to 2f inches is all the distance that is re¬ 
quired for the two tubes. We can therefore use 


THE STEREOSCOPE. 


179 

one plate for both pictures, and for instantaneous 
views these alone can be used as well as for 
groups. But in taking views of scenery, when 
there are no moving objects, one-lialf only of the 
plate may be exposed, and the camera removed 
the necessary distance, and the other half exposed. 
This will involve a certain construction of plate- 
liolder for the camera, where only one-lialf of the 
plate is exposed at a time. The plate-holder is 
then closed, and the other half taken. 

A single camera may be used for taking Stereo¬ 
scopic pictures, but in the present state of the art, 
most operators use the Stereoscopic camera-tubes 
and camera-boxes, which are made with all the 
latest improvements demanded by the progress 
of the art. They comprise two camera-tubes, 
having the same focal distance and action, and 
plate-holders to correspond, having slides to pro¬ 
duce one or two pictures upon the plate, at the 
will of the operator. Also an additional arrange¬ 
ment attached, for making six or twelve portraits 
for visiting-cards and small portraits, all of which 
are combined in one perfect Stereoscopic camera - 
box. 

Stereoscopic pictures cannot be produced from 
drawings or paintings, as many have supposed, 


180 


STEREOSCOPIC PICTURES. 


but in all cases they must be made from the ob¬ 
jects themselves. So that the skill of our great 
painters cannot be rendered in the Stereoscope by 
any process now known to the Photographic Art. 


CHAPTER XV. 


APPARATUS NECESSARY FOR THE PRACTICE OF TAKING 

STEREOSCOPES-THOSE NECESSARY FOR GROUPS- 

FOR VIEWS, ETC., ETC.-STEREOSCOPIC CAMERA- 

BOXES IN USING DIAPHRAGMS-BACKGROUNDS FOR 

STEREOSCOPIC GROUPS—-CURTAINS, WINDOWS, ETC. 

-PRINTING STEREOSCOPIC PICTURES-THE TONING 

AND FIXING BATHS-WASHING THE PRINTS, ETC., ETC. 

The- articles necessary for the most successful 
production of the Stereoscopic pictures, are some¬ 
what varied, and differ very essentially from those 
required in the production of portraits. Although 
the process in some respects is similar, yet much 
of the manipulation is quite different. 

The aim of the operator is always to procure 
an intense negative, clear in its details, sharp and 
well defined, with perfect gradations of light and 
shade. N 

The following apparatus will be required: 

A pair of lenses, known as the quarter-size. 

A double camera-box, capable of receiving the two sets 

16 


182 


APPARATUS USED FOR STEREOSCOPES. 


of lenses, with a plate-holder of the required size, for 
Stereoscopic pictures. 

A camera-stand, which is capable of being adjusted to 
any angle, in order to take views, &c. 

When views are taken, a large cotton cloth, lined with 
yellow cloth, so as to be thrown over the head, to make a 
kind of tent for changing plates from the plate-holder of 
the camera-box to the darkened plate-box. 

A bath for nitrate of silver. 

Four fiat dishes, either of porcelain br vulcanized india- 
rubber. 

Graduate glass. 

Pair of scales and weights. 

An actino-hydrometer. 

CHEMICALS. 

Iodized collodion. 

Protosulphate of iron. 

Acetic acid, No. 8. 

Glacial acetic acid. 

Pyrogallic acid. 

Hyposulphite of soda. 

Stereoscopic glasses, free from spots. 

Nitrate of silver bath solution. 


When groups are taken, it is always necessary 
to have certain accessories in the picture, to make 
up the effect which is desirable, and the various 
backgrounds are introduced at the end, which will 


STEREOSCOPIC GROUPS. 


1S3 


have the appearance of interior rooms. They 
may be painted on canvas, of a neutral tint, to 
represent any landscape or scenery desired, and 
articles of furniture may be added with great ef¬ 
fect, to resemble the interior of a parlor or draw¬ 
ing-room. Groups should always be so arranged, 
that the pictures should not appear to have been 
taken so much to produce a likeness, as the gen¬ 
eral effect of ease and quiet of the household. 

It will therefore require some amount of prac¬ 
tice and judgment in arranging the groups, to 
produce the most pleasing effect. 

And first, a good degree of light is required, 
falling from a large skylight, and all parts of the 
drapery should be well lighted. It is not so 
necessary to arrange the persons in one line as in 
ordinary portraiture, but they may arrange in a 
circle, around a table, one forward of the other. 
Yet the light should fall upon the faces of all as 
much as possible, to avoid heavy shades. The 
lenses of the camera-tubes should have sufficient 
depth to take pictures, all in focus, at least ten 
feet. And any set of lenses that do not possess 
that merit, will not make good Stereoscopic groups. 
When there are more than three or four persons 
in one group, it will be almost impossible to pro* 


184 : BACKGROUNDS FOR STEREOSCOPIC GROUPS. 

duce all in good light and shade, unless they are al 
arranged in a straight line, like a group of soldier^ 
which would, of course, not then be a family 
group. 

They should be first taken without any particu¬ 
lar reference to light and shade. The negative 
can be viewed in the Stereoscope box, as a trans¬ 
parent picture, to ascertain if correct in stereo¬ 
scopic effect, and the effect of light and shade, 
which a little practice will enable any one of or¬ 
dinary judgment to determine correctly. If not 
found to be satisfactory, another group can be 
taken obviating all the objections of the first, in 
light and shade and the stereoscopic effect. 

Painted backgrounds can be used, which are 
made to represent interiors; or wall-papers may 
be arranged on backgrounds, to produce a very 
pleasing effect. Chairs and tables, and ottomans, 
can be introduced into the picture, rendering it 
in effect like the interior of a room, with curtains, 
mirrors, and draperies of all kinds, usually found 
in parlors and drawing-rooms. 

The effect of groups may be heightened by in¬ 
troducing a stream of light from a window across 
some portion of the group ; or, if possible, allow¬ 
ing a side window to form a portion of the back- 


PRINTING STEREOSCOPIC PICTURES. 185 

ground, with a small degree of light falling upon 
or through the window; the window itself being 
draped with curtains. 

A panel background, with a curtain falling over 
a portion of it, can he made of colored wall-papers, 
to produce a very pleasing effect. 

In taking groups, the most sensitive collodion 
is recommended, as no head-rests can be used, 
and the shortest time possible will he necessary 
to he employed, for fear of a movement of some 
of the group. A redevelopment of the negative 
will almost always be required. 

The largest open diaphragm must be used to 
produce the required depth of focus, which can 
be ascertained only on trial of the instrument. 

The printing of Stereoscopic pictures from neg¬ 
atives on albumen paper, is not attended with 
much difficulty if all the requisites for good 
prints are at hand. These consist, first, of the best 
negatives, and the best quality of albumenized 
paper. 

The negatives must possess the following con¬ 
ditions, viz.: clear and sharp in the details, of 
good intensity, well defined all over the plate 
nearly to the edge. 

The glasses necessary for Stereoscopic negatives, 
16 * 


186 


ALBUMENIZED PAPER. 


are known as £ white plate-glass. It requires the 
best quality of glass, free from bubbles and lines, 
and of ordinary thickness. 

The albumenized paper should be made clean 
and free from spots, and well glazed, or have an 
appearance of heavy glazing when viewed at an 
angle of light. 

The paper mostly preferred is that which is 
heavily albumenized. This must be sought after, 
as the prints owe much of their beauty to a 
large quantity of albumen on the surface of the 
paper. 

PREPARATION OF THE ALBUMENIZED PAPER. 

See page 218. 

SILVERING ALBUMEN PAPER. 

See page 219. 

MOUNTING STEREOSCOPIC PICTURES. 

See page 242. 

In mounting groups from life, prints must be 
reversed in position on the cardboard, that is, the 
one on the right hand must be pasted on the left, 
and vice versa. 


% 


CHAPTER XVI. 

ON THE PREPARATION OF THE CHEMICALS FOR THE 
STEREOSCOPIC NEGATIVES-FORMULAE FOR COLLO¬ 
DION-DRY COLLODION-VARIOUS FORMULAS- 

PREPARATION OF THE PRESERVATIVE SOLUTION- 

ITS USE-THE NEW TANNIN PROCESS—HINTS AND 

SUGGESTIONS. 

The various chemicals which are used in the 
art of taking Stereoscopic negatives, are to he 
made with considerable care. 

The most important is the preparation of the 
collodion. 

The preparation of the dry collodion is attend¬ 
ed with considerable difficulty, and much trouble 
has been experienced in its use, owing to the 
various changes which the plate is subject to in 
the manipulation. 

The dry processes which have been used are, in. 
the main, nearly all the same in action. The pre¬ 
servative substances which are applied to the col¬ 
lodion film, are only for protection. A collodion 


188 CHEMICALS FOE STEREOSCOPIC NEGATIVES. 

must be used that possesses the peculiar property 
of porousness, or open film, and that which is 
known as alcoholic collodion is the best; that is, 
where alcohol is in excess of the ether, and where 
a portion of aqua-collodion is present in small 
quantities. If the ammonia does not possess 
these conditions, it will be liable to wash off on 
developing, or blister. In order to obtain this 
quality, a portion of old collodion may be added 
to the new. The best collodion for the dry pro¬ 
cess, should always give good intensity when used 
wet, and it should be iodized in a greater degree 
than for the ordinary process. 

The kind of collodion which may be made ex¬ 
pressly for the dry process, may be known as the 
ammonia collodion, from the presence of ammo¬ 
nia, and is prepared as follows : 

Alcohol.8 ounces. 

Ether.8 ounces. 

Gun-cotton is added until a thick plain collodion 
is obtained, to which add about 20 drops of strong 
aqua-ammonia. Let this stand and settle, when 
it may be added to iodized collodion, which is 
heavily iodized, according to either of the follow¬ 
ing formulae: 


FORMULAE FOR COLLODION. 


189 


Plain collodion 

. . 

. 10 ounces. 

Iodide of cadmium 

, , 

. 80 grains. 

Bromide of cadmium 

or, 

. 20 grains. 

Iodide of ammonia 

• • 

. 6 grains. 

Bromide of potassium 

• . 

. 2 grains. 

Plain collodion 

or, 

. 1 ounce. 

Iodide of potassium 

. . 

. 10 grains. 

Bromide of ammonia 

. . 

. 3 grains. 

Plain collodion 

, . 

. 1 ounce. 


To each of these collodions, add so much of the 
ammoniacal collodion as will produce a porosity of 
film, or rather a rottenness, which may be known 
on trial, as follows : add, say one ounce to every 
eight of iodized collodion, and if not sufficiently 
rotten, then add more, until the required effect is 
produced. 

Old collodion generally possesses this necessary 
quality of rottenness, which is required in the 
dry process. But the new collodion can be made 
to possess it, by adding the ammoniacal to the 
new, as may be required. 

The various preservatives for dry collodion 
plates, are gelatine, albumen, honey, oxymel, sug- 


190 


FORMULAE FOR COLLODION. 


ar, liquorice root, &c. The most useful and prac¬ 
tical are gelatine and albumen. 

The gelatine preservative is the most simple, and 
easiest prepared, and indeed the most practical, 
from the fact of the great simplicity of its prepa¬ 
ration, and from its peculiar keeping qualities. 

It is prepared as follows: Take about three 
drachms of the whitest gelatine, either Coop¬ 
er’s or Cox’s, and add it to about one quart of 
boiling water, stirring it gradually until it is 
thoroughly dissolved, to which add about four 
ounces of alcohol; then filter through a cotton- 
filter, and it is ready for use. This must be kept 
clear and free from dust, by frequent filtering, if 
necessary. It is also necessary to keep this pre¬ 
servative liquid of the proper consistency. If it 
is found too thick, which may be known on trial 
by its blistering when the developer comes in 
contact with it, it must be reduced with water. 
And in like manner if too thin, it must be render¬ 
ed thicker by the addition of more gelatine; or, 
what is better, add some from another bottle, 
which has already been prepared too thick for 
use. This bottle of thick preservative preparation 
may be as well prepared in the first instance, by 
doubling the quantity of gelatine. 


PREPARATION OF DRY COLLODION PLATES. 191 


PREPARATION OF THE DRY COLLODION 
PLATES. 

All glass plates, coated with collodion, on re¬ 
moval from the negative bath, if allowed to dry 
without any substance over the surface of the 
collodio-iodide of silver, would be unfit for use, 
because the nitrate of silver will necessarily 
crystallize on the surface, and dissolve the iodide 
of silver, on which the light acts when in its wet 
state. 

The rendering of this plate sensitive to light, 
after it has become dry, is what is termed the Dry 
Collodion Process. And it must be effected by 
producing the following conditions of the plate. 
To prevent the crystallization of the nitrate of sil¬ 
ver—which is done by first washing off very care¬ 
fully all the free nitrate of silver on its surface, 
and coating it with a substance which when dried 
will form another film over the collodio-iodide 
film first formed—only enough water must be 
poured on to cover the plate; then flow it over 
the plate, and if, on draining it off', all greasiness 
disappears, no more water is needed. But if it 
still appears to draw up, as though grease were 
present, then pour enough water additional to 


192 


WASHING THE PLATES. 


cover tlie plate, and so on, until by pouring off the 
water it appears free from grease. 

The most useful and practicable of all dry pro¬ 
cesses, are those with gelatine, heretofore describ¬ 
ed, and Mr. Fothergill’s collodio-albumen process 
described on page 198. 

After the plate is coated in the usual manner, 
with the collodion made expressly for the dry col¬ 
lodion process, it may be removed from the bath 
as soon as the iodide of silver is well formed on 
its surface; the free nitrate of silver is allowed to 
run off, when it is carefully washed with pure 
water, and allowed to dry by placing one corner 
of the plate upon clean blotting-paper. Before it is 
entirely dry, the gelatine solution may be poured 
over its surface, nearly in the same manner as 
when coating it with collodion. 

Washing off the free nitrate of silver from 
the surface is attended with some difficulty. The 
water must be poured in from an open-mouthed 
bottle, very slowly, and only a certain quantity, 
barely enough to remove the free nitrate of 
silver. The quantity required can be learned by 
actual experiment. Of course different size plates 
will require different quantities of water. 

In pouring the preservative liquid upon the 


THE PRESERVATIVE SOLUTION. 193 

plate, an even coating is very essential, which 
may be obtained in the same manner as in the 
use of collodion. Of course all this preparation 
of the dry plates must be conducted in a dark¬ 
ened room, the same as in the preparation of the 
wet plate. Daylight, in the smallest degree, is 
highly injurious. 

After the plate is coated with the preservative 
liquid, it must be placed upon its edge on clean 
blotting-paper and allowed to dry, or, if conveni¬ 
ent, a plate-box maybe used which can be gently 
heated by the spirit-lamp, or placed near the tire. 

These plates, if properly prepared, can be used 
several days or months after such preparation. 
But they are doubtless more sensitive within a 
few days after they are dry. 

Of course the time of exposure in the camera 
is greater than by the wet process with the same 
collodion, generally from four to five times longer, 
say from five to ten minutes. 

The development of the image may be delayed 
for several days after exposure, and still the image 
will appear, though it is contended by some oper¬ 
ators that many weeks’ delay will impair the 
beauty of the impression. Therefore the first 
opportunity had better be embraced for bringing 

IT 


194 DEVELOPMENT OF DRY COLLODION PLATES. 

out the latent image, because the sensitiveness 
of the plate certainly diminishes by delay, and 
we may reasonably infer the picture itself would 
be impaired. 

DEVELOPMENT OF DRY COLLODION PLATES. 

In the development of dry collodion plates, a 
course must be pursued differing from that adopt¬ 
ed with the ordinary wet plates. 

The preservative film acts not only to retard 
the action of the light in the camera, but much 
more to retard the action of the developer. 

The ordinary sulphate of iron developer, has 
not been found sufficiently vigorous to produce 
the best results, and pyrogallic acid is used with 
more marked success. 

The plate must first be washed thoroughly with 
water, until the preservative solution is partially 
dissolved, then a developing solution, made as fol¬ 
lows, must be poured upon its surface, in quantity 
just enough to cover it: 

Pyrogallic acid .... 8 grains. 

Citric acid .... 5 grains. 

Water.. 6 ounces. 

Let this solution remain upon its surface four 
or five minutes, until the image begins to appear; 


TIIE GALLIC ACID DEVELOPER. 


195 


then pour off this into a bottle, and add to it two 
or three drops of nitrate of silver solution (of 50 
grains of silver to the ounce of water), or just 
enough to cover the plate, when the image will 
appear more clearly. For convenience a levelling 
stand may be used, constructed of two pieces of 
glass lying across two small upright strips of 
wood, raised high enough to allow the lamp to be 
held under it, in order to watch the progress of 
the developer. 

Should the solution become dark and turbid, 
pour it off, and add another with the nitrate 
of silver weakened. 

The process may be continued, using first the 
pyrogallic acid developer and the nitrate of silver 
added to it alternately, until a requisite intensity 
is obtained. 

This developing process will be obtained much 
sooner in a moderately warm temperature, cold 
being highly detrimental to the development of 
dry collodion plates. 

TIIE GALLIC ACID DEVELOPER. 

Gallic acid is used successfully by many who 
practice the dry process, and is considered in 
some respects more certain of good results. But 


196 


THE GALLIC ACID DEVELOPER. 


it requires a much longer time to complete the 
process: 

Gallic acid.24 grains. 

Citric acid.6 grains. 

Water.6 ounces. 

To develop with this solution, it is only neces¬ 
sary to wash the plate well with water, and place 
it in a flat dish, pouring enough of this solution 
on the bottom to cover it. 

To each ounce of this solution must be added 
twenty or twenty-live drops of nitrate of silver 
solution, as in the pyrogallic acid developer. 

The plate must remain immersed in this prepa¬ 
ration for five or six hours, or perhaps longer. 

The most feasible plan is, to have a large flat 
dish, large enough to hold several plates at a 
time, and they may all be placed in it at once, 
and allowed to remain; by weakening the solu¬ 
tion the plates may remain in all night, and then 
only be well developed. The plan has been 
adopted by many who take stereoscopic views 
by the dry process, to bring all the plates taken 
during the day, to the developing-room at night. 
Then to place them all in this gallic acid devel¬ 
oper, and allow them to remain till morning, when 


THE DRY COLLODION PROCESS. 


197 


they will be found to have attained the required 
intensity for use. 

By graduating the strength of the developer so 
as to require ten or twelve hours to complete the 
operation, this will be found the most feasible 
plan of operating. 

There are many difficulties to be met with in 
the dry collodion process. The film is liable to 
leave the plate on developing, and it can only be 
prevented by using in all cases a collodion having 
great porosity or a rotten film. Yet even then 
this difficulty will sometimes present itself, which 
may in some measure be prevented by drawing a 
small camel’s-hair brush dipped in the benzoin or 
crystal varnish around the edges of the plates 
after they are dried. This varnish will not be af¬ 
fected by the washing of the developer, and will 
retain the film upon the plate. 

The gun-cotton used for making dry collodion 
should be made at rather a high temperature, and 
it may be known, when the fibres appear to break 
readily in the fingers and to throw down dusty 
particles of the cotton. 

The glasses used must in all cases be scrupulous¬ 
ly clean and free from moisture. In cold weather, 
drying by the fire will greatly facilitate the process. 
17 * 


198 fothergtll’b collodio-albumen process. 

The preservative substances are so liable to ex¬ 
pand and contract, unless they are made of the 
proper consistency, that attention to this portion 
of the process is called. 

Nevertheless, if good and proper care is used, 
the dry collodion process may be worked with 
great success. It has been so worked by many 
persons who have essayed the delightful task, as 
it certainly recommends itself above all the wet 
processes known to the photographic world. Not 
only from its perfect neatness of action when in 
the field, but from its freedom from that almost 
insurmountable burden, of carrying through the 
woods and fields all those innumerable bottles, 
liquids, stands, dishes, &c., with which the photo¬ 
grapher was encumbered before the dry process 
was known. 

FOTHERGILL’S COLLODIO-ALBUMER PROCESS. 

In this process, as in all other dry collodion pro¬ 
cesses, it is necessary to use collodion which gives 
a porous dry film. 

The plates are prepared in the ordinary way, 
the usual precautions of having the glass clean 
and dry, and allowing the collodion to set well 
before dipping, being observed. On removal from 


fothergill’s collodio-albumen process. 199 

tlie silver solution, wash the plate with a small 
quantity of distilled water, half an ounce for a 
stereoscopic plate being sufficient. To do this, 

the plate is kept by one corner, or put upon a lev¬ 
elling stand, and the water poured lightly on one 
corner. It is then, by inclining gently, flowed 
back and forth until all greasiness has disappeared. 
This will generally take less than a minute. The 
nitrate of silver is not all washed off by this pro¬ 
cess, but simply diluted. The water is poured 
off, the plate is drained, and then is coated with 
albumen, prepared in the following way : 

White of egg.6 ounces. 

Distilled water .... 6 ounces. 

Strong aqua-ammonia ... 1 drachm. 

Beat the whole to a perfect froth, let it resume 
the liquid state again, and filter carefully. 

This solution is then poured over the plate at 
one corner, inclining slightly, so that it covers 
every part of the film ; then flow backward and 
forward for fifteen or twenty seconds, throw it 
off, and wash the plate thoroughly under running 
water, or in several trays of water, then drain it 
on blotting paper, and set it in the drying box. 

A combination takes place between the albu- 


200 THE NEW TANNIN PROCESS. 

men and the silver, forming an insoluble varnish, 
which may be called albuminate of silver. 

The development is conducted in the same way 
as in the other dry collodion processes. 

THE HEW TAHNIH PROCESS. 

Perhaps the most useful and practicable of all 
dry collodion processes now known and in use, is 
the so-called Tannin process. 

The fact that the preparation of the plates is 
attended with much less difficulty, and the ex¬ 
pense diminished, will invariably give this pro¬ 
cess the preference. 

The various kinds of collodion will answer the 
purposes of the tannin process. New collodion 
is preferred by some, though the porous film will 
answer. Iodides and bromides, made with alkaline 
properties, such as ammonia and potassa, are the 
most useful. 

A precaution may be necessary in order to re¬ 
tain the collodion on the plate, by running around 
the edge of it a narrow line of albumen or varnish. 

The plate must be flowed in the usual manner 
with collodion, and sufficiently dried, then washed 
carefully, by placing it in a flat dish of pure 
soft water, changing it until it will show no signs 


THE NEW TANNIN PROCESS. 201 

of greasiness on removal from the dish. It is then 
laid for three minutes in another dish, containing 
the tannin solution, prepared as follows: 

Tannin .... 20 grains. 

Water .... 1 ounce; filter. 

This solution will answer for quite a large num¬ 
ber of plates; the exact number cannot be stated. 
It can be used again by adding a little alcohol, 
but new solutions for every new lot of plates are 
preferable. 

The plates are now to be dried in a dark room, 
of course, and carefully laid away in a box imper¬ 
vious to light.* 

Expose the plate in the camera about five or six 
times longer than the usual time given with the 
wet process. 

In developing, the same plan must be observed 
as in other dry collodions, first washing the plate 
with water, when the developer will flow more 
evenly. The same kind of developer, and the 
same means of redeveloping, may be used as in 
the gelatine process, given on page 214. 


* A new kind of dry collodion box, lately brought into use, 
manufactured by Messrs. John Stock & Co., of New York, is high 
ly recommended for the dry plates. 



202 THE NEW TANNIN PROCESS. 

Wash and fix it with hyposulphite of soda. 

The developer most in use is prepared as fol¬ 
lows : 

Pyrogallic acid . . .72 grains. 

Alcohol .... 1 ounce; filter. 

When wanted for use, add one drachm to one 
ounce of water, also two or three drops of the 
following solution, filtered: 

Nitrate of silver .... 20 grains. 

Citric acid.50 grains. 

Water. ...... 1 ounce. 

In developing, should the negative assume a 
red appearance, it will indicate an over-exposure; 
then add more silver to the developer, and rede¬ 
velop a second time. If it is under-exposed, add 
a few more drops of the pyrogallic solution. 

An improvement in the manner of washing the 
coated plates after they are removed from the ni¬ 
trate of silver bath, is effected by dipping the 
plate into a series of baths (six in number), of 
pure water, allowing them to remain only a few 
moments in each bath. The first bath will con¬ 
tain a large quantity of silver which may be re¬ 
covered by precipitation. 


HINTS AND SUGGESTIONS. 


203 


HINTS AND SUGGESTIONS ON THE DRY 
PROCESS. 

In all dry collodion processes, the greatest 
difficulty encountered is the liability of the film 
to be removed from the glass by the numerous 
washings which the plate undergoes. A coating 
of albumen is now used upon the clean glass 
plate, which may not always be necessary, 
yet if adopted will always insure success. Some 
collodions will adhere much more certainly than 
others, but there is none that will invariably 
adhere to the glass during the final washings 
without some risk of blistering or splitting. 

A preparation of albumen can be easily pre¬ 
pared by collecting the white of fresh eggs and 
beating them to a froth in the same manner as 
described on page 218, add double the quantity 
of water, and about one drop of glacial acetic 
acid, for each egg used. Decant and filter the 
clear liquid through cotton, or damp cotton cloth, 
twice folded. It is now ready for use. 

Grind the edge of the plate and clean in the 
usual manner, then pour over the filtered albu¬ 
men. Flow in the same manner- as coating with 
collodion, and pour the superfluous albumen into 


204 


HINTS AND SUGGESTIONS. 


another vessel, which can be used again after fil¬ 
tering. 

Wipe the back of the glass and set it up to 
drain in a dry place, carefully excluded from the 
dust. 

In developing the dry plates, it is recommend¬ 
ed to heat the developing solution to about 80°, 
as it greatly facilitates the process, and shortens 
the time of exposure in the camera. 

By submitting the dry plates to the fumes of 
aqua ammonia after they are dried, they will be 
rendered more sensitive to the action of the light. 

By recent experiments it has been found that, 
if the tannin plates are carefully washed with wa¬ 
ter after immersion in the tannin bath, then 
dried, they are much more sensitive, and of 
course will work with less exposure in the camera. 


CHAPTER XVII. 


DESCRIPTION OF TIIE CARTES DE YISITE-ON THE 

PRACTICE OF THE CARTES DE YISITE-CAMERAS 

* 

EMPLOYED IN THE CARTES DE VISITE-COLLODION 

FOR THE NEGATIVES-ON TAKING THE NEGATIVES- 

REDEVELOPING WITH PYROGALLIC ACID—BICHLO¬ 
RIDE OF MERCURY -TIIE FIXING BATH FOR 

NEGATIVES-TO NEUTRALIZE THE NITRATE BATH- 

TO REMOVE ALCOHOL FROM NITRATE BATH. 

The Art of Photography is constantly making 
changes and new demands upon its votaries, and 
lately a new feature has developed itself in this 
country in the call for the portraits known as 
Cartes da Visite , or visiting portraits. Their or¬ 
igin, as we all know, was in Paris, where indeed, 
it may be said, the Art Photographic was born. 
Although they have been produced there for 
several months, if not years, they have never, 
until very recently, been much in use in the 
United States. 

They are now, however, in great demand in this 

country, and have become a permanent feature 

18 


206 


CARTES DE MSITE. 


in the various productions of the photographic 
artist. 

These portraits, as we shall call them—for they 
are indeed nothing more than full-length minia¬ 
tures of the human face and form—are generally 
taken in a standing position, with a landscape 
background, or one made with panel paper, or a 
plain background having a small portion of a cur¬ 
tain in view. Some have a pedestal, or a pillar 
or column represented, w T ith the subject resting 
the hand gracefully upon the one or the other. 

A chair somewhat ornamented, or a portion of 
a sofa, may be introduced with good effect. 

A beautiful feature of these cartes de visite is 
the introduction of a balustrade, which must be 
painted of a dove color. An urn made of wood, 
or plaster of Paris, colored the requisite tint, adds 
much to the beauty of the picture. Any article 
of furniture which may be used in the drawing¬ 
room, would always be in good taste in the card 
picture. 

The background mostly used, and which will 
produce the best effects, is made by simply past¬ 
ing panel or figured paper upon a screen or other 
background. This panel paper can be obtained 
at any paper-hanging establishment. In regard 


CARTES DE YISITE. 


207 


to color, a neutral tint of course is preferable. 
A pillar or column may also be represented in 
paper, and even the curtain of a window may be 
judiciously introduced. 

The usual stereoscopic camera with two tubes, 
is the one generally employed for the production 
of this class of pictures; yet a common quarter 
or half tube alone will answer the purpose. The 
advantage of the stereoscopic camera is that, by 
a new and beautiful arrangement of the box, an 
operator is enabled to produce four or more of 
these negatives upon one glass plate, thereby fa¬ 
cilitating their rapid production, as persons who 
desire these pictures generally require more than 
one copy. 

In most cases these portraits are taken in a 
standing position, and with out-door dresses, over¬ 
coats, hats, shawls, &c.; though a beautiful effect 
is produced not unfrequently in a sitting posture, 
either in reading or engaged in some other occu¬ 
pation, with other accessories in the picture, as 
chairs, tables, &c. 

A full field of light should fall upon the dra¬ 
pery, and the whole base of the picture should be 
well illuminated. The background should stand 
rather nearer the subject than for the ordinary 


208 


CARTES DE VISITE. 


portrait, in order to bring the figures out in focus 
as much as possible. 

ON THE PRACTICE OF PHOTOGRAPHY IN RE¬ 
GARD TO CARTES DE VISITE. 

The production of the Cartes de Visite has be¬ 
come such a feature in all Photographic establish¬ 
ments, that it is well to state what is necessary to 
be observed in the practice of the art. 

The best quality of all the articles used must 
invariably be employed, and greater care is re¬ 
quired in this regard than in any other branch 
of Photography. For it is conceded that these 
cartes de visite, when properly made, are indeed 
the perfection of the art at the present day. 

They rival the far-famed Daguereotype in some 
respects, when they are seen in all their perfec¬ 
tion. Sharp and clear in outline, beautiful in 
tone and softness of finish, and withal so natural 
in position, giving in fact the whole person in 
form and expression, and not the mere half-form¬ 
ed image which we formerly viewed. 

They are capable of such multiplication, that 
when we regard their cheapness and their porta¬ 
bility, they become truly the ne plus ultra of 
Photography. 


CARTES DE VISITE. 


209 


They will no doubt endure for a long time, and 
although they are small, they possess certain 
peculiarities, not known to larger photographs. 
Being made small, they are the more correct rep¬ 
resentations of the camera, for it is well known 
to all those who practise the art, as you increase 
the size of the picture you decrease the actual 
mathematical correctness of the portrait. Hence 
we find that all the cartes de visite are generally 
more flattering and pleasing to customers than 
the larger pictures. 

The paper used must be of superior quality, 
well albumenized, possessing a heavy gloss, white, 
and free from spots. 

The cameras used for the Cartes de Yisite must 
possess great depth of focus, as well as field. 
Many are now made expressly for this purpose, 
and we would especially recommend those so 
constructed. There have been great improve¬ 
ments in the manufacture of the cameras, and 
those now constructed by C. C. Harrison, and by 
Holmes, Booth & Haydens, are very extensively 
used. Being manufactured expressly for the 
Cartes de Yisite, they are indispensable. 

The Yoigtlander tubes are said to possess the 
necessary requisites in a great degree, especially 
18 * 


210 


COPYING CARTES DE VISITE. 


those lately made by this old established house in 
Vienna. All these cameras are for sale by most of 
the dealers in Photographic materials. 

Cartes de Visite are capable of being copied 
into larger portraits, though not so readily as the 
Daguerreotype or the Ambrotype. Yet they may 
be enlarged to any degree and painted by the ar¬ 
tist. Generally, the head only is copied, and that 
printed in vignette, as it is termed. See page 223. 

The position of the person in the Carte de Visite 
is one perhaps of more consequence than in other 
Photographs, for where the whole form is seen, 
there is more liability to err in some point, than 
where only a portion is taken. 

Great care should be taken that a graceful at¬ 
titude should be preserved, that the hand should 
rest naturally upon some ornament in the picture, 
either a pedestal or column, or a chair. The light 
should fall as much as possible on the drapery, 
so that it will print clear in all the lights and 
shadows. 

A great amount of judgment will be required 
to arrange the position, which can only be at¬ 
tained by experience. Cartes de Visite being 
represented in a standing position, they will of 
course be seen down to the floor, and that should 


COLLODIONS FOR THE CARTES DE YISITE. 211 

have a pleasing pattern of oil-cloth or carpet. 
The backgrounds generally resting on the carpet, 
must he arranged so as not to show any space 
underneath. 

COLLODION'S FOR THE NEGATIVES FOR CARTES 
DE VISITE. 

The collodions required for the Cartes de Yisite 
pictures, are the same as required for Stereoscopic 
pictures. 

They are made of the various iodizers, hut cer¬ 
tain kinds are found to be better adapted for them 
than for other pictures. What are termed the alka¬ 
line iodides, are preferable, viz.: ammonia, potash, 
&c., though the metallic iodides are used. The 
alcoholic collodion, or that which has an excess 
of alcohol over the ether, is preferred, as it more 
readily gives a porous film, and will evaporate 
more slowly than that made in the ordinary man¬ 
ner, while its keeping qualities are augmented. 

A nitrate bath, in which this collodion is used, 
will require to be evaporated occasionally, as it 
invariably absorbs a quantity of the alcohol. This 
may be effected with a common evaporating dish, 
and by boiling a short time, the alcohol will be 
driven off. See Appendix page-2##: 2/.YJ 


212 COLLODIONS FOR THE CARTES DE VISITE. 

The preparation of the nitrate bath, will be 
found on page 48. See Appendix page-2^9 1 . 

So much depends upon the negative for the pro¬ 
duction of first class Cartes de Visits , that it may 
be well to remark, unless the negative is made to 
conform to certain conditions, all the subsequent 
printing and toning will not produce good results. 

Hence the absolute necessity of strictly com¬ 
plying with the following: 

The negative must be perfectly sharp in its out¬ 
lines, of great intensity, and withal possess the 
clearness in lights and shades so desirable in 
the finished picture—no matting of the shadows, 
no over-whiteness of the liigh-lights. It must 
possess the peculiarity of great intensity when 
viewed by transmitted light, and at the same time 
when viewed as an Ambrotype, to appear like 
one, in some degree. 

Two or three formulae will be given for the 
preparation of the alcoholic collodion. 

The quality of the alcohol is a very essential 
point in its future action. 

There are various means of preparing what is 
called the 95 per cent, alcohol, but the most sim¬ 
ple and convenient is by adding, say one or two 
pounds of unslacked lime to a gallon of alcohol, 


ALCOHOLIC COLLODION. 


213 


shaking it occasionally, and the water, if any is 
present, will be absorbed by the lime ; care being 
observed that it be well corked. Let it remain a 
few days to settle, and then decant for use. 


ALCOHOLIC COLLODION. 


Pure alcohol . 

Ether 

Iodide of ammonia . 
Bromide of cadmium 
Gun-cotton to render i 


. . . 4 ounces. 

. . . 2 ounces. 

. . . 20 grains. 

. . . 12 grains, 

sufficiently thick for use. 


Dissolve the cotton first in the alcohol and ether, 
in the usual proportions of three ounces of alco¬ 
hol and five of ether, reserving of course the al¬ 
cohol to add afterward. Let it settle, and then 
decant, when add the iodizers to the remaining 
portion of alcohol, which will readily dissolve in 
it, and add the whole to the collodion. 

Should the collodion then be too thin, add more 
gun-cotton; or, if too thick, reduce it by adding 
the relative proportions of ether and alcohol. 

Another formula, as follows: 

Plain collodion . . . . 10 ounces. 

Iodide of ammonia ... 50 grains. 

Bromide of potash ... 25 grains. 

See page 82. 


214 NEGATIVES FOR THE CARTES DE VISITE. 


NEGATIVES FOR THE CARTES DE VISITE. 

To attain the desired intensity, resort must be 
had to the redeveloping processes known to the 
art. 

The collodion should possess a sufficient degree 
of intensity, when developed with the sulphate of 
iron developer, to produce an ordinary photograph 
on plain paper. 

By referring to page 82, the formulae for collo¬ 
dions, useful in producing good negatives for the 
Cartes de Yisite portraits, will be found 

The redeveloping, by means of pyrogallic acid, 
is found to produce the most desirable results. It 
is as follows: 

Make a solution of pyrogallic acid and acetic 
acid, to be kept in readiness for redevelcping. 


Pyrogallic acid 
Water . 

Alcohol 

Glacial acetic acid 


30 gra'ns. 

8 ounces. 

1 ounce. 

I ounce; filter 


Dissolve the pyrogallic acid in the glacial acetic acid. 
Another solution, as follows : 


Nitrate of silver .... 20 grains. 

^ a t©r .1 ounce; filter. 


NEGATIVES FOR THE CARTES DE VISITE. 215 

These solutions to be kept in perfectly clean 
bottles, and excluded from the light of day. 

When the negative is developed with the sul 
pliate of iron developer, and thoroughly washed, 
then mix about 2 ounces of the pyrogallic acid 
developer, and 20 drops of the silver solution. 
And it must be immediately poured upon the 
plate, of course excluded from the light of day. 
Moreover, the bottles into which these solutions 
are mixed, must be scrupulously clean, and they 
must be cleaned out thoroughly every time a pic¬ 
ture is developed. 

A number of small bottles may be cleaned be¬ 
fore comitiencing operations in the morning. If 
the same bottle is used twice without washing, for 
the redeveloping solutions, there will invariably 
be lines and streaks produced on the plate. Many 
operators have entirely failed in consequence of 
a want of attention to this simple care of cleanli¬ 
ness of the bottle used for these solutions. 

Allow the solution to flow evenly and quickly 
over the plate, then wash off with water, and if a 
sufficient intensity is not attained, repeat the oper¬ 
ation by strengthening the solution with silver; 
by repeating the operation, any degree of inten¬ 
sity may be obtained. 


216 


THE REDEVELOPING PROCESS. 


REDEVELOPING WITH BICHLORIDE OF 
MERCURY. 

Another and oftentimes a useful method of re¬ 
developing, may be adopted with bichloride of 
mercury, and withal it is more economical. (See 
page 92.) It is as follows : 

After developing with the sulphate of iron solu¬ 
tion, and before cleaning with the the hyposul¬ 
phite of soda, use a solution of bichloride of mer¬ 
cury, which can be made by dissolving one 
ounce in about four ounces of water. There will 
be only a small portion of the bichloride dissolv¬ 
ed, and this solution must be diluted before being 
used as a redeveloping agent. The strength re¬ 
quired may be known by a trial, and if not strong 
enough a greater strength may be used. After 
the negative is fixed, a weak solution of aqua-am¬ 
monia can be poured over the surface, and a still 
greater intensity obtained. 

THE FIXING BATH FOR NEGATIVES. 

Hyposulphite of soda, saturated solution. This 
bath is made simply by dissolving any quantity 
of hyposulphite of soda in water, until no more 
will dissolve. 


NITRATE OF SILVER BATH. 


217 


TO NEUTRALIZE THE NITRATE OF SILVER 
BATH FOR NEGATIVES. 

Experience has taught the most skilful artists 
that oxide of silver is preferable to all other sub¬ 
stances for neutralizing the nitrate bath. 

It is prepared by adding a solution of caustic 
potash to a solution of nitrate of silver, till all the 
silver is precipitated. Allow the precipitate to 
settle, and pour the liquid off, washing the oxide 
which falls at the bottom several times with clear 
water until it ceases to restore the blue color to 
red litmus-paper. The oxide may be kept in a 
moist state. Use it for neutralizing by shaking 
the bath and setting it in the sun, for an hour or 
two, and filter. 

TO REMOVE ALCOHOL FROM THE NITRATE 
BATH. 

On using the alcoholic collodion, a nitrate bath 
will very soon become surcharged with alco¬ 
hol, and cause various lines or streaks to appear 
on the negative. This can only be removed by 
boiling the bath in a porcelain evaporating dish— 
to one-lialf its volume—and adding more nitrate 
of silver and water to render 1 it the required 

strength. See Appendix. 

19 


CHAPTER XVIII. 

ON THE PREPARATION OF ALBUMEN PAPER—SILVER¬ 
ING THE ALBUMEN PAPER-PRINTING THE ALBU¬ 
MEN PAPER-CARTES DE YISITE—PRINTING THE 

VIGNETTE CARTES DE VISITE-THE AMMONIA NI¬ 

TRATE OF SILVER SOLUTION FOR ALBUMEN PRINTS 
—THE FUMING PROCESS. 

PREPARATION OF THE ALBUMEN PAPER. 

The preparation of the albumen paper, is at¬ 
tended with considerable difficulty, and great care 
is required in producing the requisite finish ; it is 
strongly recommended to purchase the article al¬ 
ready prepared from the dealers in Photographic 
materials. 

A brief process is hereby given. The whites of 
ten freshly laid hen’s eggs, are to be beaten to a 
froth, with a beater composed of a glass rod, or 
any substance not metallic, such as wood, or goose- 


PREPARATION OF THE ALBUMEN PAPER. 219 

quills. (See page 60.) To this must he added a 
sufficient quantity of soft water, to render the 
mass limpid, and for every ounce of it, there must 
be added ten or fifteen grains of hydrochlorate of 
ammonia. Then filter, and the paper must he 
laid upon the preparation for five minutes, in a 
flat dish, in the same manner as in the silvering 
process; then hung up to dry, in a place secure 
from dust or any deleterious exposure to chemi¬ 
cals, &c. After it is well dried, each sheet must 
be submitted to the process of coagulation, either 
by passing a heated iron over the surface, with a 
thin paper between, or laying each sheet upon a 
flat dish, filled with hot water, sufficiently heated 
to coagulate the albumen. 

This whole process is liable to failure, unless 
after considerable experience. Hence the recom¬ 
mendation to purchase the article already pre¬ 
pared in the market. 

SILVERING THE ALBUMEN PAPER. 

The silvering of the albumen paper, is a very 
important part of the process in producing good 
pictures. 

The usual strength of the nitrate of silver is, 90 
to 120 grains to the ounce of water. After filter* 


220 


SILVERING THE ALBUMEN PAPER. 


ing, float the paper for five minutes, by carefully 
laying the albumen side upon the silver, avoiding 
bubbles, which may be done by laying one edge 
of the paper on the solution first, and allowing it 
to fall slowly on the surface. Hang it up to dry 
in a dark room. The silver solution may become 
slightly colored after using it, when it can be ren¬ 
dered perfectly clear by the addition of a small 
quantity of pipe-clay, or kaolin, to be purchased 
at the druggists. Shake the bottle, then filter, 
and it will assume a clear appearance. The so¬ 
lution must always possess a clear appearance 
before the paper is silvered. The solution will 
also be reduced in the strength of the silver, 
wliicn must be replenished as often as it occurs, 
in order to keep up the maximum strength to 90 
grains to the ounce. 

The albumen paper can be silvered and dried 
for future use, and if kept carefully excluded from 
the light in a portfolio, may be used for several 
days after silvering, especially in the winter sea¬ 
son. But in warm weather they will become dis¬ 
colored, and unfit for use in a short time. 

The strength of the silver here given is only 
for papers which are not to be submitted to the 
fuming process, as described on page 30. 


PRINTING ON ALBIJMEN PAPER. 


221 


PRINTING ON ALBUMEN PAPER. 

The printing on albumen paper, is easily effect¬ 
ed. The process must, however, be carried much 
further than the ordinary printing on plain paper. 

A greater exposure is required, in order to pro¬ 
duce the requisite depth of color in the subse¬ 
quent toning. What is called the bronze colo' 
must be attained. The prints can be laid aside in 
a portfolio, or a drawer, or box, carefully exclud¬ 
ed from the light, and a large number can be 
washed and toned at one operation. 

It has been found by the experience of the best 
practical operators, that the albumen prints are 
rendered more beautiful in tone and effect if they 
are printed in a subdued light, and not in the di¬ 
rect rays of the sun. Thus in a cloudy day, when 
the process necessarily goes on slower, the effect 
is improved by a consequent softer tone. Of 
course those printed in the sun are oftentimes 
equal to those by a subdued light. The most ex¬ 
peditious mode will be adopted, whilst the demand 
for these pictures still continues. 

In silvering the paper, in order to avoid the 
dripping and consequent waste of silver, lift up 
the paper slowly and evenly from the surface of 
the solution, and only one or two drops will fall 
19* 


222 AMMONIA NITTATE OF SILVER SOLUTION. 

THE AMMONIA NITRATE OF SILVER SOLUTION 
FOR ALBUMEN PRINTS. 

When the fuming process is not adopted in 
albumen prints, the ammonia-nitrate of silver so¬ 
lution can be used, and it will answer in some de¬ 
gree all the purposes of the fuming process. 

It is prepared as follows: 

Water, .... 8 ounces. 

Nitrate of Silver, . . 1 ounce—dissolved. 

Take one ounce of this solution, and add drop 
by drop of strong aqua-ammonia. A precipitate 
is formed, and continue to add the ammonia until 
just enough is added as will render it clear. 

Then pour this ounce into the other seven 
ounces, and add one drachm of alcohol, and ten 
drops of nitric acid. Now filter, and it is ready 
for use. Print and tone as usual. 

Should the ammonia affect the surface of the 
albumen paper, add more alcohol and nitric 
acid. 

The proportion of silver given above is 60 
grains to the ounce. In most cases a larger 
quantity of silver will be required, say one and 
a half ounces to 8 ounces of water. 


PRINTING- CARTES DE VISITE AS VIGNETTES. 223 


PRINTING CARTES DE VISITE AS VIGNETTES. 

This is a very pleasing style of Cartes de Yisite, 
and possesses in some degree the peculiarity of a 
highly finished Daguerreotype. 

The head is generally taken larger than when 
the whole form is to be represented, and a grace¬ 
ful position is very desirable. 

The manner of printing the negatives for vign¬ 
ettes, is by placing a raised card-board from one- 
half to one inch above the glass, in which a 
hole is cut nearly the shape of an egg. This 
hole must be rather smaller than the head to be 
printed. Now this card-board is so arranged, 
that it can cover all the glass except the hole over 
the head, of course allowing no light to fall upon 
the glass, except through this hole. In order to 
raise the card-board above the negative glass, a 
frame of wood is to be made, on which to fasten 
i. 

By pasting a piece of white tissue-paper over 
this oval hole, the light will pass through, and 
converge around the head, and produce the cloudy 
appearance so much to be desired. The large 
portion of the oval hole should be placed so as to 
cover the shoulders. 


224 


THE FUMING FR0CESS. 


THE FUMING PEOCESS. 

The faming process, as it is termed, has been 
adopted with considerable success by many oper¬ 
ators. Its results are quite satisfactory. 

It consists only of submitting the silvered albu¬ 
men paper to the fumes of aqua-ammonia, after it 
has been dried, and just previous to printing. 

The best method is to prepare a box, which 
may be called the fuming or fuminating box. 

It must be so constructed as to receive all the 
silvered papers which are to be printed at one 
time; the dimensions of course proportioned to 
the number required, 

A box that will fume fifty papers, four fourth 
size, would require to be made about two' feet 
square, with a cover to open and close tightly 
over the top, It may be made of ordinary pine 
boards, two feet long, twenty inches high, and 
twenty inches in breadth. About three inches 
from the bottom a slide is to be fitted, that will 
close up entirely the lower portion of the box for 
about three inches from the bottom. Above this 
slide there must be au open space in which to sus¬ 
pend the silvered papers. 

The most convenient fixture to hold them would 


THE FUMING PROCESS. 225 

be the patent wooden clothes-pin—suspended on 
cords across the interior, near the top of the box. 
As many of the clothes-pins can be suspended on 
these cords as will allow the papers to hang with¬ 
out touching each other. The papers may be 
hung up double, i. e ., with the albumenized sur¬ 
face outward. 

To use this box, first dry the paper thoroughly, 
then open the slide which is fitted at the lower 
portion of the box, and place therein an open 
porcelain dish or a common tea-saucer half filled 
with strong aqua-ammonia upon the bottom, 
then close the slide over the dish of ammonia. 
Suspend the dry paper close the top of the box, 
which must of course be fitted closely over the 
top in order to prevent the escape of the fumes. 
Now withdraw the slide which covers the am¬ 
monia, care being taken to have it fit closely at 
the edge when it is withdrawn. 

The paper should be silvered with plain silver 
solution, of sixty or seventy grains to the ounce 
of water, and remain exposed to the fumes fifteen 
or twenty minutes. The time of exposure will 
depend upon the strength of the ammonia, which 
can only be known on trial. The same ammonia 
when used several times, will of course lose its 


226 


THE FUMING PROCESS. 


strength, and the time must be prolonged, or 
more ammonia added. If the ammonia should 
prove too strong, it will affect the albumen, 
causing it to flake off, and water must be added 
to reduce the strength. 

The papers may be kept in a tightly closed 
box after fuming, or they may be used im¬ 
mediately, when the effect is more beneficial. 

Print as usual. 

All albumen prints when submitted to the 
fumes of ammonia, will tone much better. 

A further reduction of the quantity of silver 
may be made, and still insure good results. 

Moreover, it is the experience of some operators 
that even inferior negatives will tone and print 
much better by using the fuming process than 
without it. Yet good negatives will produce the 
most pleasing results in all cases. 

Be careful that the silvered paper is thorough¬ 
ly dried before submitting to fumes of ammonia. 


CHAPTER XIX, 


TONING ALBUMEN PRINTS-THE ALKALINE TONING 

BATH-THE NEW TONING BATHS-VIZ : ACETATE OF 

SODA BATH-CHLORIDE OF LIME BATH-PHOSPHATE 

OF SODA BATH-CHLORIDE OF SODA BATII-ON THE 

PRACTICE OF THE TONING BATHS-NITRATE OF 

URANIUM BATH-HINTS ON THE ALKALINE TONING 

BATH-ON CHLORIDE OF GOLD-IMPERFECTIONS IN 

TONING ALBUMEN PRINTS-HINTS ON TONING- 

PRINTING FRAMES—MOUNTING CARTES DK VISITE—■ 
COLORING CARTES DE YISITE. 

TONING ALBUMEN PRINTS.—THE ALKALINE 

BATH. 

The alkaline bath for toning albumen prints, 
has come into such general use, that it is adopted 
by all the most successful operators. The fol¬ 
lowing is a complete and practical detail of the 
process. 

The toning by this bath attains one great desid¬ 
eratum long sought for in Photography, viz.: a 
great degree of permanence. None but the inde¬ 
pendent gold and hyposulphite bath will ever 


228 SOLUTIONS FOR THE ALKALINE BATH. 

produce durable prints. By toning and fixing 
separately, we attain the beautiful effect of the 
gold, without which no beauty can be produced. 

When any acid is present in the gold bath, no 
desirable results can be obtained. Hence we use 
a strictly neutral bath, rendered so by the addi¬ 
tion of some well-known alkaline substance, and 
bicarbonate of soda is employed. 

The old process of gold and hyposulphite com¬ 
bined, as a toning bath, will never succeed in al 
bumen prints. Nor will any bath made with the 
ingredients combined, ever supersede the alkaline 
toning bath given below as follows : 


Chloride of G-old (one bottle)....15 grains. 

Water.15 ounces. 


Bi-Carbonate of Soda enough to neutralize. 

The prints are first well washed in running 
water for twenty or thirty minutes, when they 
will assume a red color. Then immerse them for 
a few moments in a solution of common salt and 
water, the proportions not material, say : 


Water . 

. 

. 

. 

10 ounces. 

Salt 


, 

. 

1 ounce. 


In first washing the prints, it is well to place 
them in a small quantity of water, in order to save 
the superfluous silver. It is therefore recommend- 




THE TONING BATH. 


229 


ed by those who are making a large number of 
Cartes de Yisite, to place those first in a dish 
expressly reserved for the first washing, as the 
largest portion of the silver will leave the paper 
at the first immersion. The water containing the 
silver washings can be kept in a bottle, and, when 
desirable, a small quantity of salt introduced, 
forming chloride of silver. This may be saved 
upon a filter, and sold to the silver refiners at a 
good price, thereby yielding oftentimes one-lialf 
or one-quarter of the cost of the silver. 

, Wash carefully, and lay aside in a dish of water, 
excluded from the light. Prepare all the prints 
that may be required to tone at one time, in this 
manner. When desired to tone the prints, mix 
equal parts of the gold and alkaline solution in a 
flat porcelain, india-rubber, glass or earthen dish. 

The exact quantity cannot be definitely stated, 
but it may be known when a sufficient quantity 
of soda is added, by using a small slip of blue lit¬ 
mus paper, which must not be changed to a red 
color, but just at the point of the change to the 
red; in other words, there must be added just 
enough of the soda to neutralize the solution of 
gold. A few experiments will soon enable any 
one to learn the quantity required. 

20 


230 


TIIE TONING BATH. 


Now, by placing one of the prints which have 
been washed as above, in this solution, and keep¬ 
ing the solution in motion, a change will take 
place in a few moments, and continue until the 
required tone is attained. 

If on trial of one print, it assumes a grayish or 
mealy appearance on being held up to transmitted 
light, then add more of the bicarbonite of soda. A 
few trials will soon indicate the exact quantity of 
soda required. 

The prints may be placed in this solution sepa¬ 
rately, or any number at a time. But the surest 
manner is to place only two or three in at once. 
After they assume the proper tone and color, they 
are then to be well washed again in running water 
for fifteen or twenty minutes. Then they are to 
be subjected to the fixing process, with a solution 
of hyposulphite of soda, viz.: of two ounces of 
hyposulphite to ten ounces of water. 

This fixing solution can be used only for a cer¬ 
tain number of prints, as it becomes deteriorated 
by use, when an entirely new solution must be 
made. 

By some operators, however, this hyposulphite 
solution is filtered, and more of the soda added, 
and the tone of the prints is not impaired. Yet 


THE TONING BATH. 


231 


those most successful only use the hyposulphite 
in fresh solutions for each new lot of prints. 

In no case must there be any of the gold solu¬ 
tion in the hyposulphite, or any of the hyposul¬ 
phite in the gold. Great care must be observed 
that none shall be conveyed from one solution to 
the other. The hands must be well wiped and 
dried before placing them in either solution. 
After a clear tone is produced in the hyposul¬ 
phite solution, which will require fifteen or twenty 
minutes, or more, the prints require to be well 
washed again, and hung up to dry. 

The prints may change slightly to a reddish 
color on the first immersion in the hyposulphite, 
but they will assume a purple black, if continued 
the proper length of time. This last washing 
must be thorough and complete. 

The prints are now ready for mounting. 

The gold solution will tone only a certain quan¬ 
tity of prints. The number may be known when 
on adding another print, no change takes place. 
Then a new solution of gold and bicarbonate of 
soda must be prepared. 


232 


NEW TONING BATHS. 


NEW TONING BATHS. 

It may not be deemed inappropriate to append 
to this chapter on toning baths, a few constructed 
with different chemicals, yet all maiuly arriving 
at the same results. 

Those who desire to practice any of the follow¬ 
ing, may succeed with some even better than the 
ordinary batli with gold and carbonate of soda. 

Always use a solution of plain silver, clear and 
well filtered, varying from forty to seventy grains 
to the ounce of water. Float the paper for two 
minutes. 

Fume the papers with-aqua ammonia before 
printing. Never allow the fumes of the ammonia 
to reach the silver solution. 

ACETATE OF SODA BATH. 

Dissolve fifteen grains of chloride of gold in six 
ounces of water, and add thirty grains of acetate 
of soda. 

Test it with blue litmus-paper and it will turn 
red, when you must add enough super-carbonate 
of soda to return that blue color to the paper. 
AJlow it to stand, and add to the solution enough 


NEW TONING BATHS. 


233 


to make it thirty-two ounces. Also twenty or 
thirty grains of salt. It is now ready to tone. 

CHLORIDE OF LIME BATH. 

Put five grains of dry chloride of lime in twenty 
ounces of water, and filter. Dissolve fifteen grains 
of chloride of gold (or one ordinary bottle of gold) 
in ten ounces of water. Add the gold solution to 
the lime, shaking well, and add two drachms of salt. 

Always apply heat when toning. The chloride 
of lime bath will always work better the next day 
after mixing. 

PHOSPHATE OF SODA BATH. 

Into a saturated solution of phosphate of soda, 
filtered, say ten ounces, add one bottle of chloride 
of gold, which has been dissolved in ten ounces ot 
water. Let it stand a short time, and test witli 
litmus-paper; and if not neutral, add soda, as in 
the ordinary bath, till neutralized. 

CHLORIDE OF SODA BATH. 

Add 100 grains of chloride of lime to one quart 
of water. Dissolve, also, one hundred grains of 
bicarbonate of soda in another quart of water, 
and mix the two solutions and filter. 

20 * 


234 


NEW TONING BATHS. 


ON THE PKACTICE OF THE TONING BATHS. 

Add as much chloride of gold to any quantity 
of the above solution as may be required for use. 
About one quart to each bottle of gold. Add, 
also, a small quantity of salt. 

To all the above baths a few drops of a saturated 
solution of citric acid may be added with good 
effect. 

One bottle of gold should tone two or three 
hundred card pictures. When a smaller number 
are desired, of course the same proportions can be 
observed in all the various chemicals, and also the 
water used. 

In order to know when a bath is working well, 
or when the print is sufficiently toned, it should 
never loose its clear, transparent appearance on 
the surface and in its deeply-printed parts, and 
never become grayish or flat in its tone. The 
dark parts should become deeper and deeper in 
color, and the high lights constantly assuming a 
whiter look. When the print is properly toned, 
the contrast between the light and the dark por¬ 
tions of the picture is very clearly marked. When 
this point is attained, the toning is complete, and 
the prints should be immediately placed in clean 


NEW TONING BATHS. 


235 


water and washed. Followed, of course, with the 
various washings, and finished with the fixing 
bath of hyposulphite of soda, say one ounce to six 
ounces of water, with the addition of a little con¬ 
centrated aqua-ammonia to each fixing bath. 

They are known to be fixed when the white 
part of the picture is clear and transparent on 
being held up to transmitted light. 


236 


THE NITRATE OF URANIUM BATH. 


THE NITRATE OF URANIUM BATH. 

This toning bath is the best, but like all alkaline 
baths requires great care in the manipulation. It 
will produce those beautiful tones of black and 
white, so desirable in the Cartes de Yisite. 

Float the albumen paper in a silver solution of 
90 grains of silver to each ounce of water; having 
previously added a few drops of strong aqua-am¬ 
monia, to neutralize the acid in the nitrate of sil¬ 
ver. Let it settle a few moments, and filter. 
Prepare three solutions as follows: 

No. 1. Chloride of gold . . . 15 grains, 

Or one bottle of the ordinary chloride of gold. 

Water.2 ounces. 

Neutralize with bicarbonate of soda. 

No. 2. Acetate of soda . . . 100 grains. 

Water . . .1 quart, or 32 ounces. 

No. 3. Nitrate of uranium . . 15 grains. 

Water.2 ounces. 

Bicarbonate of soda sufficient to neutralize the acid, which 
may be known by test-paper. 

Mix Nos. 1 and 2 by pouring the gold into the 
soda. Then add the nitrate of uranium, and filter. 


THE NITRATE OF URANIUM BATH. 237 

This will tone nearly 200 prints, when a new 
bath can be prepared, to which this old one may 
be added, and the tone in most cases improved ; 
but should there be any mealiness, lay aside the 
whole bath, and prepare a new one, reserving it 
for future use, and it may be added gradually to 
the new baths. Always wash the prints well, as 
in other alkaline baths, and immerse in the above 
the usual time. On removal from the toning 
bath, wash carefully, and fix in a solution of hy¬ 
posulphite. 

The foregoing method of toning is now adopted 
in the most extensive establishments in New 
York. On trial, it will prove the most practica¬ 
ble, and there is not so much waste of chemicals. 

The use of aqua-ammonia in all the silver solu¬ 
tions for the albumen paper, is recommended. 

Some difficulties may occur in the use of this 
bath. When it does not tone quickly, add more 
gold; it may even require two bottles to the 
above. 

Variations in the proportions of the chemicals 
of this, and all baths, are sometimes necessary. 

Wash carefully through all the various stages, 
until the final mounting of the picture. 


238 HINTS ON THE ALKALINE TONING BATII 


HINTS ON THE ALKALINE TONING BATH. 

In using the gold toning bath, a certain degree 
of* heat is always necessary to produce the best 
results, say 80°. Heat may be applied by using 
the spirit-lamp to the porcelain dish. 

The gold bath should be allowed to stand after 
it is first mixed, and the carbonate of soda added 
until the yellow color disappears—add a half a 
drachm of salt to the gold bath after it is neutral¬ 
ized for every bottle of chloride of gold. 

In using the fixing bath of hyposulphite, the 
addition of a small quantity of aqua-ammonia is 
recommended, as it will the more readily remove 
any acidity that might exist in it. The quantity 
of ammonia is not essential, say five or six drops 
to every pint of solution. 

A small quantity of citric acid, say 15 drops 
of a saturated solution, to each bath made with 
one bottle of gold, will improve the tone of all 
the baths given in this work. 

The chloride of gold used in toning the al¬ 
bumen prints must in all cases be such as can 
easily be rendered alkaline. That which is pre¬ 
pared by the author of this work, and has been 


DINTS ON THE ALKALINE TONING BATH. 239 

# 

in use for nearly twenty years, is the best adapt¬ 
ed for the process. 

It is made with special reference to this prac¬ 
tice, possessing just enough chlorine to retain its 
bleaching qualities. Indeed, it is prepared so as 
to conform to the formula for the production of 
the auro-chloride of sodium. Hence its rapid and 
increased sale since the introduction of the Cartes 
de Visite. The use of the liquid chloride of gold 
has become very general of late, and by some it 
is preferred to the dry preparation. 

Though when we consider the action which 
takes place on immersing the print in the solu' 
tion, it must be evident that the result sought 
can only be obtained by the presence of the 
metallic gold; and just so far as that is present, 
so far will the toning properties be accomplished. 

Liquid chloride of gold is usually prepared’ of 
double strength of the ordinary dry gold; and it 
will require double the quantity of water in its 
use. 


240 IMP3R FECTION8 IN TONING ALBUMEN PRINTS. 


THE IMPERFECTIONS IN TONING ALBUMEN 
PRINTS. 

It not unfrequently happens in the process of 
toning with the alkaline baths that various im¬ 
perfections will occur. 

The print will not change from the red tone on 
immersion in the gold bath. This is generally 
owing to an insufficiency of silver in silvering the 
paper, or a weak negative; add silver, and make 
more intense negatives. 

The most frequent imperfection, and that most 
difficult to overcome, is the mealy appearance of 
the print on removal from the gold bath, as seen by 
transmitted light. This is owing to imperfections 
in the paper or the albumen, or more generally to 
improper washing. To avoid this, use more careful 
washing, and instead of immersing the print in 
common salt, use the following : 

Acetate of soda . . . 10 drachms. 

Water.1 pint. 


Immerse for five minutes: then wash for a few 


IILNTS AND SUGGESTIONS ON TONING. ETC. 241 

moments in running water; then tone, and all 
mealiness will be avoided. 

HINTS AND SUGGESTIONS ON TONING, ETO. 

The practice of using gutta-percha, india-rubber, 
and porcelain for photographic dishes, has been 
found to he objectionable. 

India-rubber, gutta-percha, and porcelain, will 
not answer for the nitrate of silver bath, although 
it may for toning and for washing dishes. 

The glass baths and dishes are now the only 
kind that can be strictly relied upon, hence they 
will soon come into general use. 

Care should be taken that only glass dishes be 
used when nitrate of silver is present, as it will 
invariably dissolve the glazing on porcelain and 
earthenware. 

The gold toning baths will answer if made of 
porcelain, or vulcanized india-rubber; yet glass 
is always preferable. 

In toning prints great care should be observed 
that no foreign substance be allowed in either 
the gold or fixing bath, as it will assuredly injure 
the prints. The baths must be entirely discarded 

and new ones substituted. Even the placing the 
21 


?A2 MOUNTING THE CARTES DE VI8ITE. 

fingers in the gold bath, and then in the hypo¬ 
sulphite, or vice versa , will impair their utility. 
Always wash the hands after toning, before plac¬ 
ing them in the hyposulphite bath. 

PRINTING-FRAMES. 

Those known as pressure frames are the best 
for Cartes de Viszte , as they possess a powerful 
spring. It will press the negative more closely to 
the albumen paper, which is desirable in all in¬ 
tense negatives. The ordinary printing boards, 
however, will answer, if the pressure is sufficient 
to sustain the negative in close contact with the 
paper. 

MOUNTING THE CARTES HE VISITE. 

The print must be first cut of the required size 
by laying over it a piece of glass, cut the size of the 
print, and that upon another glass; or it may be 
cut with a pair of scissors by laying the glass on 
it, and cutting around the glass. 

The gelatine or gum-arabic solution may be used 
for pasting it upon the cards. The substance 
known as mucilage, sold at the stationers, is a very 
useful article for mounting the prints. 

The best preparation for them, however, is com- 


MOUNTING THE CARTES DE YISITE. 


243 


mon starch, as prepared for the laundry, as fol¬ 
lows : 

Take any quantity and add to it just so much 
cold water as will make a thick paste; then add 
sufficient hot water to thin it, till it becomes like 
mucilage; when this is cold it will be ready for 
use. 

This starch preparation is much to be preferred 
before any other pasting substance, as it is much 
cleaner, and by experiment it has been found to 
endure longer. 

A small quantity is only to be made at a time, 
as it will change its adhesive qualities after it has 
been made a few days. 

A new lot can be made in a few moments, as it 
may be required. 

After the Cartes de Visite are mounted and dried 
on the card, they are much improved by running 
them through a machine made expressly for the 
purpose, called the photographic press, or rolling 
machine. 

They are rendered much smoother, and greatly 
improved by this process. These machines are 
considered indispensable in a gallery where Cartes 
de Visite pictures are made. 


244 


COLORING THE CARTES DE VISITS. 


COLORING THE CARTES DE YISITE. 

The Cartes de Visite can be colored by preparing 
an extract of gall, sold by the dealers in artists’ 
materials and water-colors. Though their beauty 
may be considered improved by some, in the 
eyes of a true artist they are impaired. 

There is now in use a new article for coloring 
cartes de visites , called Troxell’s colors. They are 
well recommended, and seem to supply a want 
deemed necessary. They are adopted by most 
artists. 

Cartes de Yisite are usually represented in a 
standing position. But a great variety of styles 
are adopted, and as many now are taken without 
> the full length figure as with it. 

They are very much more striking in the like¬ 
nesses, as the size is increased. 

Many are taken with dark plain backgrounds, 
more nearly resembling the Daguerreotype. 

Plain backgrounds are recommended when the 
features of the face are taken large. 

Vignetts are taken with plain white back¬ 
grounds. 


WEIGHTS AND MEASURES. 


245 


WEIGHTS AND MEASURES. 


The weight generally employed in Photography 
is the apothecaries’ weight; but some of the chem¬ 
icals are sold by avoirdupois; for what reason no 
one can explain. 

Nitrate of silver is usually sold by that weight, 
as well as most of the liquids. The acids and al¬ 
kalies, however, are generally sold by apotheca¬ 
ries’ weight. 

apothecaries’ weight. 

1 grain. 

20 = 1 scruple 

60 = 3=1 drachm 

480 = 24 = 8 = 1 ounce 
5760 = 288 = 96 = 12 = 1 pound. 


AVOIRDUPOIS WEIGHT. 


1 pound 
1 ounce 
1 drachm 

(1 ounce avoirdupois 


= 16 ounces. 

= 16 drachms. 

= 26*343 grains. 
= 437*5 grains.) 


IMPERIAL MEASURE. 


1 gallon 
1 pint 
1 ounce 

(1 fluid ounce of 
dupois.) 


.= 8 pints. 

. . . . . = 20 ounces. 

.= 8 drachms. 

water weighs 437.5 grains, or 1 ounce avoir 


21* 


246 


WEIGHTS AND MEASURES. 


FLUID MEASURE. 

1 minim — 

GO = 1 fluid drachm . = 

480 = 8= 1 fluid ounce = 

9600 = 160 = 20 = 1 pint = 

76,800 = 1280 = 160 = 8 = 2 gal’n = 


0-91 

54*7 avoird. 

437-5 = 1 oz. 

8-750 = 1.25 lb 
70-000 = 10 lbs. 


(1 pound avoirdupois contains 7000 grains.) 


1 pound Troy .... 

1 imperial gallon of water . 

1 imperial pint of water contains 20 ounces, or 
1 cubic inch of water ** “ “ 

1 ounce avoirdupois . “ ** ** 

1 ounce Troy . . “ “ “ 

1 gramme . . . ** “ “ 

1 decigramme . . “ M “ 

1 litre of distilled water “ ** “ 


contains 5760 grains. 
“ 70,000 “ 

8750 “ 

252-4 “ 
437-5 “ 
480 “ 

15-4 “ 

1-5 “ 
15,406*3 “ 


The grain is the nnit of weight; but as three 
standards of weight are employed, much uncer¬ 
tainty and confusion often arise in the mind of the 
photographer as to which ounce or drachm is 
meant. The apothecaries’ weight is generally un¬ 
derstood to be the one employed; but it would 
save much trouble if the formulae for the various 
preparations were always given in grains. 


247 



APPENDIX. 



























































( 




































INTRODUCTION TO THE APPENDIX. 


TWELFTH EDITION. 

The constant improvements in the Photo¬ 
graphic Art render it necessary for the author of 
this work, in order to keep pace with those im¬ 
provements, to add an Appendix to this twelfth 
edition. He adopts the plan of an Appendix, 
rather than to embody the changes in the Art in 
those portions of the work devoted to each es¬ 
pecial branch. 

These additions will be found to embrace all 
the known discoveries of value which have been 
deemed useful up to the present time, as well as 
some never before published. 

The Art has certainly improved within the past 
year or two, and it bids fair to go on to still 
greater perfection, opening wider fields and greater 
branches of usefulness to the world, while, at 
each successive step of higher attainment, it de¬ 
mands of its votaries more assiduity and skill. 
Let us then, as Artists, apply that requisite skill, 



250 


APPENDIX. 


and elevate the Art up to that sphere where it 
properly belongs. 

These various improvements have been mainly 
in that branch of Photography which includes 
the Cartes de Yisite process, embracing more 
particularly the negative bath, the toning and 
printing albumen prints, the varieties of finish of 
the same, and the varied details of the Art; all of 
which will be found under their appropriate 
heads. 

It is therefore hoped that all these improvements 
will conduce to the well-being of the Photog¬ 
rapher in general; and that the public, upon 
whom he is dependent, will appreciate his desire 
to please, and render him that substantial weight 
of regard which he may reasonably expect in 
return. 


APPENDIX. 


251 


r. - ^ >y 

CHAPTER I. 

ON THE NEGATIVE BATH-THE USE OF TWO BATHS- 

THEIR PREPARATION AND MANAGEMENT-THE 

NECESSITY OF FILTERING-STREAKS OR LINES 

ON THE PLATE-THE EVAPORATION OF THE ALCO¬ 

HOL AND ETHER—-THE REMOVAL OF ORGANIC 

MATTER-THE RECONSTRUCTION OF A BATH WHICH 

IS FOUND UNFIT FOR USE-ON TONING ALBUMEN 

PRINTS-ON VIGNETTES, AND BODY VIGNETTES. 

The negative bath, for the production of nega¬ 
tive pictures, has been the theme of many an 
artist. He has grown weary over the volumes 
written on the subject, all without much profit; 
and yet the construction and management has 
now become, instead of the most difficult branch 
of photography, one of the most certain and 
easily managed of the whole round of the art. 

In order to fully understand and manage the 
bath, the photographer must know exactly how 
it is constructed. If possible, always be pro¬ 
vided with two negative baths—when one is not 
in order, the other may be; and during the time 
of rectifying the one that is out of order, the 
other may work successfully. 




252 


APPENDIX. 


Having measured the water the bath contains, 
add enough nitrate of silver, which is known to 
be perfectly pure, to render it at least forty 
grains to every ounce of water—pure soft water 
in all cases. 

This can only be known by certain tests and 
conditions. (Refer to Nitrate Bath, in other por¬ 
tions of this work.) The water should not throw 
down a white precipitate, indicating lime, although 
a slight milky appearance will sometimes appear, 
which can be removed by filtering. Often test 
the strength of the bath with the hydrometer, 
and keep the strength from 40 to 50 grains to the 
ounce. 

The bath should be filtered as often as once in 
twenty-four hours, if in constant practice. Al¬ 
ways filter wh6n more nitrate of silver is added, 
also at the close of the day’s operations, allowing 
the bath solution to remain in a bottle free from 
dust and fumes of chemicals. 

In warm weather, if practicable, allow the bottle 
containing the bath to stand in water, to keep the 
temperature below 75° or 80° Fahrenheit. On 
the trial of a plate with the strength of the bath 
up to the standard, if lines and streaks should 
appear, and a haziness also, there must be added 


APPENDIX. 


253 


a few drops of glacial acetic acid, say live drops 
to every thirty ounces of solution. 

Whenever lines or streaks appear on the nega¬ 
tive, and acid has been added, it surely indicates 
the undue presence of alcohol or ether, or both, 
which must be removed by evaporation. Use a 
porcelain evaporating dish, sufficiently large to 
contain the whole of the bath solution. Apply 
heat by means of the spirit-lamp, or otherwise, 
and raise the temperature up to nearly or quite 
the boiling-point, when the fumes of alcohol and 
ether will pass off—of course, reducing the quan¬ 
tity of water also. In order to secure the perfect 
operation of the bath, it may be recommended 
here to neutralize it in part before boiling it, as 
described on page 217, with the oxide of silver. 
Then boil it, as before described. The bath solution 
must be allowed to cool; then test the strength ; 
then add water enough to render it forty or forty- 
five grains to the ounce. 

If, on applying the heat, a dark precipitate is 
formed, it indicates the presence of organic mat¬ 
ter, which can be removed by filtering. The 
presence of organic matter is frequently the cause 
of many failures in the manipulation of the neg¬ 
ative bath. After evaporating and filtering, there 


254 


APPENDIX. 


will sometimes appear lines or streaks on the 
negative. Then, if the required acid is present, 
which may be tested by litmus-paper, and the 
strength is still up to the standard, you may be 
sure that the organic matter is not all removed 
from the bath. 

In order to effectually accomplish this, it may 
be necessary to evaporate the solution down to 
dryness. This is done as follows: 

Pour the whole solution of the negative bath 
into the evaporating dish, and apply heat until 
all the water is driven off, leaving a colored sed¬ 
iment, which must be stirred with a glass rod 
until nearly dryness is obtained. When the batk 
is evaporating to dryness, a small quantity of 
carbonate of soda, dissolved in water, may some¬ 
times be added, if there is a great excess of acid, 
say just enough to produce partial neutralization. 
Remove the heat, and it will cool off apparently 
free from moisture. Allow this to remain until 
all the heat has left it, when it will appear like 
solid crystals. How apply heat again, to fuse 
these crystals. When it seems to be fused, add 
water gradually, enough to dissolve the whole, 
which may be effected more readily with heat. 
Filter the solution until it is clear, and when 


APPENDIX. 


255 


cool, test with the hydrometer and litmus-paper, 
and add water and acid, or nitrate of silver, to 
obtain the requisite strength. 

Sometimes the bath will not filter perfectly clear 
after submitting to this process; it will assume a 
reddish hue. This can be entirely removed by 
allowing it to remain in the bottle, exposed to the 
direct rays of the sun, for three or four hours, when 
there may appear a darker hue to the whole solu¬ 
tion. Filter again, and a clear bath will be ob¬ 
tained ; if not, expose longer to the sun. It should 
be observed, however, that no acid should be added 
to the bath until all color has been removed from 
it by the exposure to the sun, and the various 
filterings. 

The bath should be rendered subject to the fol¬ 
lowing uniform conditions, viz.: sufficient acid to 
redden litmus-paper, and of the standard strength, 
forty or forty-five grains to the ounce of water, 
and clear and transparent. 

After the bath has been reduced to dryness, as 
in the foregoing process, it becomes in reality an 
entire new bath. All foreign substances, of what¬ 
ever nature, are removed by this process. If 
proper care is always observed, this process will 
not often be needed. Yet frequent partial evap- 


256 


APPENDIX. 


oration is highly beneficial to all nitrate of silver, 
or negative baths. 

It is well known to all experienced operators, 
that acid must be present, either in the negative 
bath or in the collodion. 

If the collodion has been made long enough 
to liberate free iodine, then there is sufficient acid 
in that. But if the collodion is new, and it is 
necessary to work it when new, a few drops of 
the tincture of iodine may be added. (The tinc¬ 
ture of iodine is the pure crystals of iodine dis¬ 
solved in alcohol.) 

We can produce the same result by adding 
some old collodion to new, with good effect, as 
already free iodine is liberated, and acid formed. 
If acid is added, to the bath, it sometimes has a 
tendency to retard the working properties of it; 
and if old collodion is mixed with new, we arrive 
at the same result by a more effective means. 

Great care must be observed in cleaning the 
bath. A glass bath is the best, but others are 
used. They should be thoroughly washed, and 
all deposits removed from the inside, and allowed 
to dry, by being placed bottom-side up while the 
solutions are filtering. 


APPENDIX. 


257 


A NEW PROCESS OF NEUTRALIZING THE NI¬ 
TRATE OR NEGATIVE BATH. 

A new and very expeditious process has lately 
been discovered by Mr. George E. Pell, formerly of 
Hamilton, Canada West, but now of Hew York 
city, which consists of immersing in the bath, 
when acid is in excess, a quantity of clean pipe- 
stems , commencing by the introduction of one 
piece on the dipper, allowing it to act until the 
effervescence ceases, withdrawing this, and then, if 
not sufficiently neutralized, adding another, until 
the whole bath is neutralized. 

This plan obviates the necessity of filtering, 
and withal does not precipitate any portion of 
the silver in the bath. Any clean pipe-stem, or 
pieces, will answer, which have been broken from 
the bowl. Indeed, whole pipes that have not 
been used could be employed. This process is 
found to be eminently useful in practice. 

ON TONING ALBUMEN PRINTS. 

Perhaps the most beautiful effects of the perfect 
cartes de visite or vignette which are so much 
admired at the present day, owe their great beauty 
as much to the printer and toner, as to the nega¬ 
tive operator. Certain it is that without the 


258 


APPENDIX. 


requisite experience in this branch of the art, the 
best prepared negatives will fail of good results. 

In the main portion of this work, devoted to 
the cartes de visite process, there are given various 
toning baths, some of which have been well tested 
by experience; yet all of the most successful 
toners have adopted the one on page 227 as the 
most reliable. 

Use a bath of plain nitrate of silver solution of 
not over 40 or 50 grains, and always fume with 
aqua ammonia, as given in directions on page 224 

Use pulverized charcoal to remove the discolor¬ 
ation of the silver solution, instead of kaolin or 
pipe-clay. The quantity is immaterial, and it may 
be used several times, always reserving the residue 
of the charcoal for saving with the silver waste, 
as a portion of the silver will likely be retained in 
the charcoal. 

Sometimes the silvering solutions for albumen 
paper, are greatly improved by the process of 
evaporation, as described in the negative-bath pro¬ 
cess—page 271 of the Appendix—though only a 
partial evaporation would be required. 


APPENDIX. 


259 


ON THE USE OF NITRATE OF AMMONIA 

IN ALBUMEN PRINTS. 

In the preparation of the paper for the albumen 
prints, the addition of nitrate of ammonia is bene¬ 
ficial, as follows: 

Water, - - - - 8 ounces. 

Nitrate of Ammonia, 1 ounce. 

Dissolve: for every ounce of silver solution, 
add two drachms of this solution, and the tone of 
the prints will be very much improved. 

It is well to remember that in the very warmest 
weather the nitrate of ammonia must be omitted. 

ON VIGNETTES AND BODY VIGNETTES. 

The vignette picture has assumed a rank in the 
photographic process second to none in the range 
of the wdiole art. They are now conceded to be, 
beyond all dispute, superior to the cartes de visite 
proper ; though they are, indeed, strictly speaking, 
a carte de visite portrait. 

They are consequently taking the precedence in 
all photographic albums. 

To produce the vignette in all its beauty, re¬ 
quires more skill and practice than the ordinary 
cartes de visite. 

The .paper selected must be of that quality 


260 


APPENDIX. 


which, when printed, will be free from specks or 
stains. Great care must be observed, that the 
oval opening shall be sufficiently large to expose 
enough of the background, over the head, to 
relieve the sharp outline—and still enough of the 
shoulders and body must be seen, as will comport 
with the subject of the portrait. For a tall person, 
more of the body should be seen ; and for a child, 
a smaller head than for an adult, and less of the 
body. 

The best vignette printing-frames are those 
made already and for sale by the dealers. Those 
constructed with ground glass, for the medium of 
passing the diffused light, are the best in use, al¬ 
though they can be constructed of pasteboard of 
various sizes, to suit any picture, with less expense. 
Always use tissue-paper over the oval opening to 
print the vignette, when pasteboard is adopted. 

The body vignette is generally made of the 
cartes de visite—either sitting or standing—and 
the effect is pleasing in the highest degree. They 
are made by covering up the background, and 
allowing the light to pass through an opening 
covered with tissue-paper, the same as the ordi¬ 
nary vignette. 

For body vignettes, recourse must always be 


APPENDIX. 


261 


had to pasteboard, for the bodies are always of 
various sizes, and each one will require a new and 
distinct opening. They require to be so con¬ 
structed that they shall form over the body a 
sufficient opening to allow the light to radiate 
entirely around the body. Therefore, as each 
body generally assumes a different position, it 
will readily be seen that one opening would not 
answer for all body vignettes. 

Vignettes of all kinds are susceptible of great 
improvements in their various styles of back¬ 
grounds ; some may be taken with a white back¬ 
ground, and these will require only a large white 
card-board affixed to the head-rest behind the sit¬ 
ter, just large enough to surround the head. Great 
care must be taken in •washing and toning the 
vignettes; for wherever the lingers are not kept 
free from chemicals, and they touch the vignette 
in washing and toning, those disagreeable spots or 
stains appear, and the picture is useless. 


262 


APPENDIX. 


CHAPTER II. 

ON THE DEVELOPING PROCESS-ON WEAK AND STRONG 

DEVELOPERS-A SATURATED SOLUTION OF PROTO¬ 
SULPHATE OF IRON-THE AMOUNT OF ACETIC ACID- 

THE DURABILITY OF DEVELOPERS-THE FORMU¬ 
LAE -PLAIN PROTOSULPHATE OF IRON-SUL¬ 
PHATE OF IRON AND AMMONIA-PROTOSULPHATE 

OF IRON AND SUGAR-ON THE REDEVELOPING OR 

INTENSIFYING PROCESS-THE INTENSIFIERS-PYRO- 

GALLIC ACID AND SILVER-GALLIC ACID AND SIL¬ 

VER, BICHLORIDE OF MERCURY, PROTOSULPHATE OF 
IRON AND SILVER-SULPHATE OF POTASH-BI¬ 

CHLORIDE OF MERCURY AND IODIDE OF POTASH. 

The developing process has not heretofore been 
considered of so much importance as the other 
details of the art; yet a careful inquiry into its 
minute operations cannot fail to elicit Very much 
attention. 

The experience of some of the most practical 
operators goes to show that very much of the beauty 
and finish of the negative are due to this branch 
of the art. 

Developers are used weak and strong. As a 


APPENDIX. 


263 


general rule, a weak developer gives a greater con¬ 
trast, and a strong developer more harmony and 
softness. Tims, when the developer is weak, its 
action commences on the highest lights; and as 
the developing goes on slowly, there is a tendency 
to an aggregation of those parts—so that those 
parts receive more than their share of the silver 
deposit—consequently, acquire greater density to 
the actual loss of some of those parts which are in 
more shadow. 

With a strong developer, the reduction of the 
silver is more uniform ; the details of the shadows 
are more rapidly brought out, and the high lights 
do not receive that undue amount of reduced sil¬ 
ver, as in the case of a weak developer. 

This fact should be well known to all operators, 
and carefully practised as he uses the various col¬ 
lodions—for, every collodion can be made to work 
with more or less favorable results, according to 
the manner of using the developing solutions. 

The best plan to adopt is, no doubt, to prepare 
a saturated solution of protosulphate of iron, 
and reduce it with water, as occasion requires. 
This solution will not retain its best quali¬ 
ties for an indefinite length of time. It may be 
remedied, however, by the addition of fresh crystals 


264 


APPENDIX. 


of protosulphate of iron, and it should be excluded 
from the light. 

"With a collodion that develops quickly, and 
yields negatives, full of detail, but lacking con¬ 
trast and intensity, the best developer for it would 
be a weak one, as that increases contrast and in¬ 
tensity. 

So, on the other hand, if the collodion acts slowly, 
yielding negatives which lack in harmony, and 
the details not brought out, and the^liigh lights 
too strong, producing what is termed a hard nega¬ 
tive i, then the developer should be strong. A few 
trials of the various strengths of the developing 
solutions, will convince the most inexperienced of 
the great value of attending to the above rules. 

About 20 grains of protosulphate of iron, to an 
ounce of water, is the maximum quantity used ; 
with one-half of this quantity, it would be deemed 
a weak solution, and would answer well, where the 
redeveloping with pyrogallic acid is used. But the 
collodion should in all cases be made with bro¬ 
mides and iodides. 

If, on trial with a strong iron developer, the 
negative flashes out quickly, and falls back into 
the background, then wash off the iron developer 


APPENDIX. 


265 


quickly, and intensify with strong pyrogallic acid 
and silver to produce the most pleasing results. 

The amount of acetic acid used is a very im¬ 
portant consideration. A weak iron developer 
requires more acid than a strong one; and a strong 
developer less, of course. The reason is obvious: 
as a strong one brings out the picture in all its 
details, there are many more points for the silver 
to attach itself to, than when less acid is required; 
whereas, as it takes a longer time for a weak de¬ 
veloper to act, it consequently requires more acid, 
in proportion, to restrain the precipitate from 
settling on the shadows too deeply. 

Long-continued development, either with a 
strong or a weak developer, always has a tendency 
to fog the shadows ; and as a weak developer re¬ 
quires a long time to do its work, there is more 
danger of a failure, unless a due proportion of acid, 
is used. Rather strong developers are more gener¬ 
ally used. 

The quality of the acetic acid used is a matter 
of some moment. There is a sure test of its 
purity by dissolving a small crystal of nitrate of sil¬ 
ver in water, and add a drachm of the acid, when, if 
any impurities are present, a precipitate takes 
place, and will continue if exposed to the light. 


266 


APPENDIX. 


Such acid is unfit for photographic purposes, and 
will consequently injure the negatives. 

The durability of all developers are of some con¬ 
sequence. They no doubt can be used for a con¬ 
siderable length of time; but the acetic acid 
should not be added to the protosulphate of iron, 
except in such quantities as are required for daily 
use. 

They can be used over again if carefully filtered, 
and no trace of the fixing solutions of cyanide or 
hyposulphite are allowed to fall in them. 

A few formulae will now be given ; but the 
most practical operator need not follow them, be¬ 
cause every one, to obtain good results, must of 
necessity vary the proportions, and use the in¬ 
tensifying or redeveloping process, in order to 


produce good negatives. 

No. 1. Protosulphate of iron, .... 2 ounces. 

Acetic acid,.4 ounces. 

Water,.24 ounces. 

No 2. Sulphate of iron and ammonia, . . 2 ounces. 

Acetic acid, No. 8,. 1 ounce. 

Water,. 15 ounces. 


This sulphate of iron and ammonia is said to 
produce the most excellent results; that its keep¬ 
ing qualities are far greater than the plain proto- 






APPENDIX. 


267 


sulphate, and that it can be used over by careful 
filtering. It certainly produces fine and vigorous 
negatives in the hands of a skilful operator. 

PROTOSULPHATE OF IRON AND SUGAR. 

This developer possesses certain merits, that 
will recommend it to some as useful and desi¬ 
rable. It reduces the time of exposure in the 
camera nearly one-half, with the same collodion 
and bath. 

It is made as follows: Make a saturated solu¬ 
tion of protosulphate of iron, and white sugar, 
and mix them ; then evaporate in a porcelain dish 
to dryness, and use—viz.: 


Iron and sugar,.2 ounces. 

Acetic acid.3 ounces. 

Water,.16 ounces. 


This wdll be improved, like all developers, by 
changing the proportions of acetic acid, iron, and 
sugar. 

ON REDEVELOPING OR INTENSIFYING 
PROCESSES. 

The practice of the most skilful operators of 
the present day is, to use for all their negatives 
the intensifying or redeveloping process, although 





268 


APPENDIX. 


in the early stages of the art, it was considered 
detrimental to all negatives to redevelop or in¬ 
tensify. 

The one mostly nsed is the pyrogallic and sil¬ 
ver, as described on page 214, and indeed is said 
now to be the standard, although some only use 
the bichloride of mercury, and some only the 
protosulphate of iron, with the addition of a weak 
solution of nitrate of silver. 

All the various redevelopers must be known 
and adopted only as the occasion may require. 

By referring to pages 87, 90, 92, and 214, of 
this work, where several redeveloping agents are 
treated of, they can be adopted as may be needed 
in practice. 

When redevelopers are used, the negatives are 
not considered to be so durable; but the use of 
pyrogallic acid and silver is not likely to injure 
them. 

The various redevelopers that are used are as 
follows, viz.: 

Pyrogallic acid and nitrate of silver solution. 

Gallic acid and silver solution. 

Bichloride of mercury. 

Protosulphate of iron and nitrate of silver solution. 


APPENDIX, 


269 


SULPHURET OF POTASH SOLUTION. 

The latter, dissolved and filtered, and used with 
the strength of one ounce to a pint of water. Im¬ 
merse the plate in the solution, after the fixing in 
hyposulphite. 

This redeveloper is highly recommended for 
copying engravings and works of art. 

BICHLORIDE OF MERCURY AND IODIDE 
OF POTASSIUM. 

Make two solutions, respectively, of bichloride 
of mercury, and the iodide of potassium. The 
former a saturated one; the latter, say half an 
ounce to four ounces of water; the proportion 
is not material. Prepare sufficient for use, as 
follows: 

Pour the solution of iodide of potassium grad¬ 
ually into the quantity required of the mercury 
solution, when will be found a beautiful red pre¬ 
cipitate. Continue to add the potassium, until 
the liquid is rendered perfectly clear. 

This is ready for a redeveloper, and it is used 
before the negative is fixed. 

By some operators, this is considered one of the 
most useful intensifiers. 

But it has a serious objection, which also enters 


270 


APPENDIX. 


into all where bichloride of mercury is employed. 
It is liable to render the negative subject to fa¬ 
ding by exposure to the sun. However, varnished, 
it will print a great number before fading. 


APPENDIX. 


271 


CHAPTER IIL 

ON COLLODION-THE FORMULAE REFERRED TO IN 

THIS WORK-SUGGESTIONS ON COLLODION—PREP¬ 
ARATION OF PLAIN COLLODION-OLD COLLO¬ 
DION, HOW RESTORED AND MADE NEW-TO SETTLE 

COLLODION-ON SAVING THE WASTE OF SILVER 

-TILE VARIOUS KINDS OF WASTE-TO REDUCE 

THE CHLORIDE OF SILVER TO NITRATE OF SILVER 

-TO EXTRACT THE SILVER FROM THE HYPO-BATH 

AND MAKE IT INTO NITRATE OF SILVER. 

Much has been written on the different kinds 
of collodions, and much will be found in this work, 
yet there is always in the experience of the practi¬ 
cal photographer something new. 

The formulas for collodions given in this work, 
are found by continual practice to succeed as well 
as any. All will produce good results if the 
various conditions of the bath and the developers 
are so adjusted to the proportions of the iodides 
and bromides. Whenever these conditions are 
inimical they will fail. 

The recent suggestions and improvements are 
as follows: 


272 


APPENDIX. 


Always prepare a quantity of plain collodion, 
rather thick, say one gallon, allowing it to settle, 
and decant it free from sediment, and have it al¬ 
ways ready for additions to old collodion or new. 

Plain collodion will keep for years. 

Whenever new iodized collodion is wanted, 
the iodides and bromides can be weighed, dis¬ 
solved, and filtered, then added to the given quan¬ 
tity of collodion. By this means collodion can 
always be made and ready for use in a short space 
of time. 

In order to facilitate the process still more, the 
iodides and bromides can also be dissolved and 
filtered'ready for mixing with the plain collodion. 

It is recommended to always have on hand a 
quantity of the double iodide of silver and the 
bromo-iodide of silver, for many collodions can 
he made to work well by the addition of a drachm 
of either of these preparations to every ounce. 

Their preparation will be found on pages 157 
and 159. 

All old collodions which have been laid aside 
as worthless for months and become thin, can be 
converted into new collodion by treating them 
simply as a mixture of ether and alcohol, adding, 
of course, gun-cotton and the sensitizers in the usual 


APPENDIX. 


273 


proportions. If desirable, the red color can be re¬ 
moved by agitating the collodion in a small quan¬ 
tity of quicksilver; let it settle and filter before 
adding the gun-cotton and sensitizers. 

In warm weather, all collodions will be liable to 
work unfavorably. 

Their temperature must be reduced by placing 
the collodion*-phials in water, and, if possible, 
adding ice to reduce it still more. 

In cold weather, the temperature of the work¬ 
room must be raised to 50° or 60° Fahrenheit, to 
work with good success. 

Some collodions will not settle readily. This 
can be remedied by adding the white of an egg. 
Shake the bottle, and allow it to stand, when it 
will be found to settle clear; then decant for use. 

RECOVERY OF WASTE SILVER IN THE PHOTO¬ 
GRAPHIC PRACTICE. 

In these days, when the cost of all the materials 
is so much enhanced, especially the nitrate of 
silver, which enters so largely as one of the arti¬ 
cles of consumption, any plan that will save this 
precious article will be hailed with delight. 

It is well known that only a very small propor¬ 
tion of the nitrate of silver, probably not one- 
12 * 


274 


APPENDIX. 


tenth, remains in the paper after the picture is 
finished. The same proportion is washed away in 
developing. 

A large portion of this can be saved without 
much trouble to the photographer, and for this 
purpose he should adopt the following practice : 

The developing should be in a sink communi¬ 
cating with a tub or barrel. This barrel should 
be divided in the centre by a water-tight partition, 
having an opening six inches from the top filled 
in with a sponge. Allow all the washings to fall 
on one side of this partition, and the water 
alone will pass through the opening, reserving the 
silver deposit on the same side. A faucet should 
be inserted on the side which does not receive the 
washings, about six inches from the bottom of the 
barrel, to draw off the water when required. 

All redeveloping with silver should be over this 
barrel, but not the other intensifies, neither the 
fixing solution. Those washings should be kept 
in a separate barrel. The first water which has 
been used to wash prints previous to toning them 
should always be placed in this barrel, or, what 
is better, a separate vessel, and salt added to 
form it into chloride of silver. This chloride of 
silver can be reduced by zinc. See page 277. 


APPENDIX. 


275 


All tlie waters used for rinsing out negative or 
positive baths should be placed in this barrel of 
silver solution only. 

Paper and cotton used for filtering silver solu¬ 
tions, the bath, and all silvered paper not used, 
and bad prints which have not been well fixed and 
are discarded, are kept in a box or barrel free 
from dampness. 

Trimmings of finished prints and bad prints 
which have been fixed, are kept in a separate 
barrel. 

It is always a saving of silver to trim off the 
waste paper from the cartes de visite and other 
pictures before washing and toning them. This 
paper will always yield more silver than after 
washing, and it is recommended to keep it in a 
separate box. 

The hyposulphite used for fixing negatives and 
also for fixing positives on paper, should be kept 
entirely separate, as it contains sulphur, and 
should not be mixed with the chloride of silver. 
This can also be precipitated by means of zinc, as 
described on page 278. 

Old negative baths rendered useless can all be 
precipitated with a solution of common salt, and 


276 


APPENDIX. 


the chloride of silver reduced to a metallic state 
by means of zinc, as described on page 277. 

Occasionally a small quantity of protosulphate 
of iron and common salt should be thrown into 
this barrel. 

When required to recover the silver, the deposit 
which has formed at the bottom of the tub can 
be removed as follows, viz.: 

After drawing off all the clear water, stir up 
the whole deposit (which will appear as black 
mud), and place it upon a cloth filter stretched 
over a pail or bucket. Then dry it. 

This dry precipitate is now ready for the crucible. 

It is, however, recommended to photographers 
in general, that these deposits thus prepared 
should be reduced by the practical chemist, who 
has always a good furnace and other conveniences 
necessary for their reduction to pure silver. 

All these deposits can be sold to dealers in pho¬ 
tographic materials, as also the silver papers, fil¬ 
ters, the cotton, the trimmings of prints, &c., &c. 

Care should be observed to keep each kind of 
the wastes separately, and marked accordingly. 

But there may be some operators w r ho desire to 
reduce their chloride of silver again to nitrate of 
silver, and the following is the process: 


APPENDIX. 


277 


TO REDUCE CHLORIDE OF SILVER WITH ZINC. 

Pour on the wet chloride of silver twice its 
volume of water, containing one-tenth of sulphuric 
acid ; dip into it a thick sheet of zinc and leave it 
undisturbed. The reduction of the chloride will 
begin immediately where it is in contact with the 
zinc, and will spread from there in all directions. 
When the whole mass is of a dark gray color, the 
reduction is complete; and the zinc is taken out. 
A fresh addition of sulphuric acid is then made to 
dissolve any particles of zinc that might remain. 
After an hour or so, the liquid is poured off and 
the silver is washed carefully until the water ceases 
to redden litmus-paper. This washing is done in 
the following manner: The vessel is tilled with 
fresh water, the mass is stirred up and left to set 
tie, when the water is poured off as near as possi¬ 
ble, and fresh water again added to it. It is then 
stirred up, left to settle, and poured off again. 
Successive additions of water are made in this 
way, and the operation of pouring off is gone 
through until the liquid is no more acid. 

This silver can, while yet wet, be dissolved in 
nitric acid to transform it into nitrate of silver, by 
pouring enough nitric acid to cover the gray 


278 


ArPENDIX. 


powder, and applying a gentle heat. After it is 
dissolved, add water and allow it to evaporate 
slowly, when the pure crystals will be formed. 

TO EXTRACT THE SILVER OUT OF OLD HYPO- 
BATHS BY MEANS OF METALLIC ZINC. 

If a strip or stick of zinc is put into an old 
hypo-bath, the silver will precipitate in the form 
of a black powder. The reaction is complete when 
the liquid begins to smell strongly of rotten eggs 
(hyposulphuric acid). The liquid is then thrown 
away, and the deposit is washed repeatedly to get 
rid of the hypo, and is finally thrown on to a 
paper filter and allowed to dry. 

This precipitate is not metallic silver, but a 
mixture of this metal with sulphuret of silver. It 
can, therefore, be transformed into nitrate of silver 
by dissolving it in nitric acid, in the same manner 
as described on page 277, when reducing chloride 
of silver with zinc. 

To reduce the silver deposits into pure silver, 
is attended with much trouble and expense; it is 
therefore recommended to apply to the silver re¬ 
finer when this is wanted. 


f « 

INDEX. 


PAGE. 

Actino-Hydrometer for nitrate bath. 136 

Albumen paper, to prepare. 60 

“ “ for Stereoscopic and Cartes de Yisite pictures.218 

“ “ to silver. 219 

Alcoholic collodion. 213 

Alcoholic solution of iodide of silver. 157 

“ of bromide of silver. 158 

“ of broino-iodide of silver. 159 

“ saturated, of iodide of potassium. 160 

“ saturated, of bromide of potassium.161 

Alcohol to remove from nitrate bath. 217 

Ammonia-nitrate solution for albumen prints. 222 

Alkaline bath. 227 

Ambrotype chemicals. 131 

apparatus for. 131 

Ammonia nitrate of silver solution for positives. 95 

1 “ for albumen. 222 

Art, Photographic, History of the.. 21 

Backgrounds, to print various shades. 107 

“ for Stereoscopic pictures. 184 

“ for Cartes de Visite. 206 

Bath, nitrate of silver, preparation of. 133 

“ “ to iodize.134 

“ “ to test the. 186 

“ “ to neutralize.137 

“ “ to keep the, in order. 138 

“ “ for toning and coloring.98, 94 

“ “ chloride of gold. 93 

Bromide of silver, alcoholic solution of. 15S 

Bromide of potassium, saturated solution of. 160 

Camera, time of exposure in the... 46 

Camera, solar, for life size. . 70 

“ importance of a good. 125 

Cartes de Yisite, description of. 205 

“ backgrounds. 206 









































280 


INDEX. 


PAGE. 

Cartes de Yisite practice. 203 

“ to copy. 210 

“ cameras.-.209 

“ fixing bath. 216 

“ as vignettes. 223 

“ toning bath for. 22T 

“ mounting the. 242 

“ coloring the. 244 

Cautions in using chemicals, &c. 163 

Chemicals, Ambrotype. 132 

Chloride of gold, as a toning agent. 238 

Chloroform for collodion. 107 

Cleaning the hands. 165 

“ glass plates for ambrotypes. 126 

“ “ for negatives.. 41, 103 

Collodion, negative to prepare. 82 

“ double iodized... 84 

“ to remove water from. 106 

“ to purify old. 106 

“ Ambrotype, preparation of.. 149 

“ to iodize, for Ambrotypes . 150 

“ to be kept from the light.151 

“ tests of good. 152 

“ to render any, highly sensitive. 170 

“ for negatives, preparation of. 82 

“ for Stereoscopic pictures. 189 

“ Cartes de Yisite. 211 

Copying Daguerreotypes into Photographs.. 69, 70 


Daguerrotypes to copy life size. 69, 70 

Developing solution for negatives. 89 

“ “ for iron Photographs. 74 

“ “ for Ambrotypes. 141 

“ “ various recipes for.143 

“ “ for dry collodion plates. 194 

Dextrine paste for Photographs. 104 

Discovery of the Stereoscope. 173 

Dry collodion process. 187 

“ preparation of the plates... 191 


Enlarging pictures to life size 


69 


* Filtering process. 135 

Fixing solutions, preparations of, for Ambrotypes. 144 













































INDEX. 


281 


PAGE. 

Fixing bath for positive paper.. 94 

Fixing solution for negatives. 44 5 93 

“ for positives. 94 

Fogging the pictures. 114 

“ cause of, and to detect. 114 

Fothergill’s collodio-albumen process. 198 

Fuming process. 224 


German process for negatives. 85, 86 , 87 

Gum-Arabic paste for positives. 104 

“ “ varnish for negatives. 44 

Glasses, preparation of, for Ambrotypes. 126 

“ cleaning substances for.126 

“ cleaning new... 127 

“ cleaning old. 128 

“ cleaning, that have been varnished.129 

“ proper for negatives. 47 

Gun-cotton, discovery of..146 

“ preparation of. 146 

“ to wash and dry. 148 

Hints and suggestions on positives and negatives.. 112, 167 

“ “ “ “ on paper. 117 

Hints on toning albumen prints. 240 

Hydro-bromic acid, to prepare. 161 


Imperfections in negatives . 114 

“ in positives.120 

“ in toning albumen prints. 240 

Instantaneous printing. 101 

Light, to arrange for negatives. 45 

Negatives on glass. 40 

“ definition of.. 40 

“ on glass to take. 41 

“ developing solutions for. 43 

“ fixing solution for. 44 

“ the color of. 54 

“ for Stereoscopic pictures. 186 

“ Cartes de Yisite. 212, 214 

Negative bath, tne practice of the. 51 

“ changes of the. 53 

Nitrate of silver bath for negatives. 48, 49 

“ “ preparation of, for Ambrotypes. 49 












































282 


INDEX. 


PACK. 

Nitrate of silver to iodize. 49 

“ “ to neutralize..137, 217 

Nitrate of Uranium Bath. 236 

Old collodion, to purify......106 

“ to remove water from. 106 


Paper, Photographic, quality of. 117 

w to dry salted..... 5-3 

Philosophy of the Stereoscope. 177 

Photographic printing. 56 

“ views. 79, SO 

“ ' process, theory of the . 30 

“ press, for Cartes de Yisite....243 

Photographs, to wash. 65 

to mount. 67 

“ to varnish. 67 

“ positive, on glass..'. 29 

Pictures, negative and positive, on glass and paper. 31 

Plates, to clean, on flat board. 126 

Plate-holders necessary for Ambrotypes. 125 

Plate-vise for holding glasses. 126 

Positive process, theory of the. 32 

“ fixing the. 63 

“ washing the. 65 

“ drying the. 67 

** mounting the. 67 

“ printing the. 62,63 

Printing on albumen paper... 221 

“ instantaneous. ...•. 101 

“ frames.109, 242 

Prints, to restore faded. 102 

“ from negatives. 62 

Prints, positives with chloride of sodium paper and pure silver.. 29 

“ with ammonia-nitrate of silver. 58 

Redeveloping for Cartes de Visite.214, 216 

“ processes. 87, 90, 92 

Retouching negatives. 113 

“ “ for views. 112 

“ positives on paper. . 119 

Salting solutions for paper. 57 

Silver, to add, to negative bath. 52 

M solution, plain. 5 # 












































INDEX. 


283 


Silver to recover, from old solutions 

Silvering the paper. 

Silvering albumen paper. 

Spots or streaks on plates. 

Stains, to remove, from the hands... 

“ “ from clothes. 

Stereoscope, philosophy of the. 

Stereoscopic camera-tubes. 

“ apparatus. 

“ chemicals. 

“ backgrounds. 


PAGE. 
... 10 
... 58 
... 219 
... 115 
... 165 
. 166 
76, 177 
... 179 
... 181 
. . 1S2 
... 184 


Tannin process. 

Toning bath, for albumen prints 

“ baths, new... 

“ bath, acetate of soda.... 

“ chloride of lime. 

“ phosphate of soda. 

“ chloride of soda_ f ... 

“ on the practice of. 

“ hints on. 

“ for positives on paper... 

Toning or fixing the print. 

Vignette Cartes de Visite. 

Weights and Measures, tables of. 


200 

227 

232 

232 

233 
233 

233 

234 
238 


93, 94 
... 63 



APPENDIX. 

Albumen Prints, to tone. 257 

“ “ use of Nitrate of Ammonia. 259 

Developing Processes, new. 262 

“ weak and strong.. 263 

“ formulas.2GO, 267, 268 

Hypo Baths, how to recover the silver. 278 

Intensifying Processes.267, 268, 269 

Negative Bath, to reconstruct. » . 251 

“ to evaporate to dryness.253, 254 

“ to acidify. 256 

“ new process of neutralizing.. 257 

Reducing Chloride of Silver to Nitrate of Silver. 277 

Redeveloping Processes.267, 268, 209 

Recovery of Silver Wastes. 273 

Silver Solution, to clear with Charcoal.. 258 

Silver Wastes, how to recover. 273 

Vignettes, and Body Vignettes.. 259 













































. 

■ 

. 

' — 

■ 

* 

. 

* 

■ • 

■ 

. 











O. S. FOLLETT, 

MANUFACTURER, IMPORTER OF, AND DEALER IN 

PHOTOGRAPHIC GOODS 


OF EVERY DESCRIPTION, 

129 Grand Street, 3 doors east of Broadway. 

NEW YORK. 


SOLE MANUFACTURER OF THE CELEBRATED 

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MY XL 

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AGENT FOR SHAW’S 

Silver and Gold Saving Apparatus. 

Circulars respecting same sent on application. 

EVERY ARTICLE USED IN THE ART OF THE BEST QUAL¬ 
ITY, FURNISHED AT LOWER PRICES THAN 
ANYWHERE ELSE IN THIS CITY. 


Orders attended to promptly 


HOLMES, BOOTH & HAYDENS, 

MANUFACTURERS, IMPORTERS, AND DEALERS IN 

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OF EVERY DESCRIPTION, 

No. 49 Chambers St., New York. 

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HOLMES, BOOTH & HAYDENS, 

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Manufactory at Waterbury, Conn. 


SCOVILL MANUFACTURING CO., 

MANUFACTURERS, IMPORTERS, AND DEALERS IN EVERY DESCRIPTION OF 
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OR 

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No. 4 Beekman St., New York. 




EDWARD & HENRY T. ANTHONY & 00., 

No. 501 Broadway, New York, 

MANUFACTURERS AND IMPORTERS OF 


MATERIALS OF EVERY DESCRIPTION. 


AGENTS FOE Coleman Sellers' Patent Photographic Press; 

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141 Chambers Street, New York. 


ALSO, IMPORTER, MANUFACTURER, AND DEALER IN 

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HARRISON CAMERA FACTORY. 

OFFICE, 458 BROADWAY. 


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Our Portrait Tubes and Globe Lenses may be obtained from all 
the stock-dealer6 in this and other cities. 

Orders should be addressed to 

NELSON WRIGHT, 

458 Broadway, N. Y,, Corner of Grand St. 



JOHN STOCK & CO., 

Photographic Apparatus Manufactory, 

207 and 209 Centre Street. 

OFFICE, SAMPLE AND SALESROOM, 

458 Broadway, corner of G-rand St,, New York. 

The Subscribers, owing to the great and increasing demand for their Pho¬ 
tographic work, have been compelled to change their plan of business, and 
have taken extensive rooms, with ample steam power, in Centre street, and 
with machinery made expressly for, and exactly adapted to their work; they 
will'hereafter be able to supply the demand, no matter how large, with 
Camera Boxes, Baths, Stands, Printing Frames, etc., etc., of unequalled 
quality. 

They take pleasure in informing their friends and the public that they 
have made an arrangement with Mr. NELSON WEIGHT (Harrison Camera 
Factory), by which they will be relieved from the selling and other business 
operations, and devote their time wholly to manufacturing. Soliciting the 
continuance of the public favor which lias heretofore been so liberally be¬ 
stowed, wo are yours respectfully, etc. JOHN STOCK & CO. 


The undersigned will be happy to show samples and take orders for the 
“John Stock & Co.’s” BOXES, BATHS, STANDS, and other Photographic 
Apparatus. With very great facilities in machinery and power, and with 
large supplies of superior seasoned timber and other materials, it is hoped 
orders will be filled with a promptness that will satisfy every one. Prices 
will be made as low as possible, kept regular, and no deviation made. Stock 
Dealers will be allowed a liberal discount. 

The especial attention of amateurs, and of all artists who appreciate and 
wish to possess perfect working apparatus, is called to the Nemo Patented 
Improved Camera Boxes , which consist of tbe following:— 

The Imperial Camera, for taking pictures both in the Gallery and in 
the Field. 

Universal Camera, for all kinds of work—single pictures two or four on 
a plate, and for copying. 

Imperial Folding Camera, for copying; adapted for field and Gallery 
use. 

Patent Artists’ Camera. 

Stereoscopic Cameras, double and single, with the Patent Dry Box. 

Camera Table, the most perfect and convenient article known. 

Patent Glass Bath, esteemed the only perfect Silver Bath ever intro¬ 
duced. 

An Illustrated Pamphlet with prices will soon be issued, and will 
be sent to any one wishing it. 

All orders should be addressed to 

NEESON WRIGHT, 

458 Broadway, Cor. Grand St., N. Y. 
























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